THE LEGACY ISSUE

WHAT WE LEAVE BEHIND is often a reflection of the things we

carry with us throughout our lives: experiences and memories,
ideas and aspirations, talents and skills, beliefs and feelings,
a sense of place. That’s the power of legacy. It’s the impression
we make on the world: the spaces we create, the connections we
forge, the way we impact both the people around us and those
who come after. Legacy is a concept that is often described in
historical terms, a referendum on the institutions and traditions
we feel compelled to honor and uphold (or seek to dismantle and
reject). But at its core, it’s very much about the great potential we
all have to transcend history, to own the past by taking what’s
been handed to us and making something vital and necessary
and new. That’s why when we talk about legacy in creative fields
like fashion, art, or music, it’s very often the purest kind: visions
that beget myriad other visions; work that gives way to multitudes
of other work; sounds that reverberate through time; little seeds
of inspiration that are planted and nurtured and grow and spread
across cultures, continents, and generations. Legacy is also an
expression of that distinct human capacity to look at and learn
from what we’ve done and who we’ve been to become who we
want to be—to change. This issue explores what it means to create
(or confront) a legacy in all those different ways: to find those
things worth carrying with you and to share them—and to clear
a path for others to do the same. HB

PARIS
HILTON
Photograph by MAX FARAGO
Styling by YASHUA SIMMONS

Dress, knit, and shoes, PRADA. Earrings, CARTIER. Ring, her own.

B A Z A A R
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 E D I T O R’ S L E T T E R
On LEGACY

FASHION EDITOR: YASHUA SIMMONS; HAIR: LAUREN PALMER-SMITH; MAKEUP: SANDY GANZER; MANICURE: VANESSA SANCHEZ MCCULLOUGH. NASR: JODY ROGAC. SEE THE DIRECTORY FOR SHOPPING DETAILS.
hen I was a fashion assistant, I used to go to Jamaica for

NEWMAN: PHILIP-DANIEL DUCASSE; FASHION EDITOR: TONY IRVINE; HAIR: MELLEISA DAWKINS; MAKEUP: ERNEST ROBINSON III; CASTING: ANITA BITTON AT THE ESTABLISHMENT. HILTON: MAX FARAGO;
fashion shoots. The images from those projects were
always beautiful, but I always left feeling like they barely
scratched the surface when it came to capturing or acknowledging
the depth and cultural richness of the country. It was a backdrop.
So when we had the chance to go to Jamaica for a fashion
shoot, I knew we had to do things differently. Model Kai Newman
marks her first cover of Harper’s Bazaar in a fashion story set in
her hometown of Kingston. It was produced with a local crew and
photographed by Philip-Daniel Ducasse, who hails from nearby
Haiti, and our goal was to capture the texture and flavor of the city.
There’s an intimacy in the story that is reflective of a community
rallying behind its own. As Newman recalls, during one setup
by the shore, a group of revelers on a party boat nearby began
cheering, “Yes! Yes! Go, Jamdown girl!” Newman adds: “It’s nice
to work where people are rooting for you.”

This issue’s theme is legacy. It is something we celebrate, as with

the beauty and great cultural impact of a place like Jamaica and
a city like Kingston. It’s also something we interrogate.
Paris Hilton has always challenged me to question my own
preconceived notions; in retrospect, many of us are coming around
to how harshly we judged young women like Hilton during the early
aughts, an era that Gen Z has helped bring back for reevaluation.
In our story, photographed by Max Farago, Hilton talks to Emma
Carmichael about both the legacy she inherited and the one she
wants to build for herself—as a new mother and a businesswoman
From top: Kai Newman
and by revealing a more honest version of who she is. “I feel that
in a Valentino gown, people finally respect me … in ways that they never did,” she says.
photographed by
Philip-Daniel Ducasse in
This issue is filled with individuals who’ve found ways to bring
Jamaica; Paris Hilton the entirety of themselves to everything they do, from dancer and
in a Valentino jumpsuit,
photographed by Max
choreographer Bill T. Jones and author and historian Henry Louis
Farago in Los Angeles Gates Jr., who engage in a spirited conversation about building
artistic and academic legacies as Black men in America; to tennis
great Billie Jean King and designer Tory Burch, who discuss the
fight for equity for women in sports; to features director Kaitlyn
Greenidge’s thoughtful reflection on art and community inspired
by a photo of a Black writers’ group in the 1970s that included
future literary stars like Alice Walker, Toni Morrison, and June
Jordan; to the brave whistleblowers in Prachi Gupta’s feature on
speaking out in Silicon Valley—women who are trying to reshape
the legacy of an industry with the power to shape the future.
And then, of course, there’s the fashion. This is our big spring
fashion issue, and we are thrilled to bring you the best that the new
season has to offer. We also have a feature on one of fashion’s greatest
advocates and most enduring stars, the inimitable Naomi Campbell,
whose astonishing career has lasted more than three decades and
remains in the highest of high gears. As she tells Otegha Uwagba,
“I just like what I do.” Finding a place where you can be and be
seen for who you are can be an extraordinary feeling. It’s our hope
that this issue—and Harper’s Bazaar—is one of those places for you.

60 03/23 B A Z A A R
Spr
Pho
79 Greene Street, New York
loewe.com
EMMA ROBERTS In the spring fashion she wears all the time | Christopher John Rogers & more
Scan to read more &
shop her picks
 P L A Y L I S T
INTRODUCING THIS ISSUE’S MUSIC DIRECTOR

TURNSTILE, GLOW ON: ROADRUNNER RECORDS/ELEKTRA ENTERTAINMENT; X-RAY SPEX, GERM FREE ADOLESCENTS: COURTESY THE POLY STYRENE/X-RAY SPEX ESTATE; OUTKAST, STANKONIA: COURTESY SONY
HAYLEY WILLIAMS

MUSIC ENTERTAINMENT; BJÖRK, VESPERTINE: ELEKTRA ENTERTAINMENT, MARKETED BY RHINO ENTERTAINMENT COMPANY, A WARNER GROUP COMPANY; FUGAZI, 13 SONGS: COURTESY DISCHORD RECORDS
FEATURED 6. “ALRIGHT”
Kendrick Lamar
TRACKS
7. “THE LIMIT TO
YOUR LOVE”
Feist

8. “MAD”
Solange feat. Lil Wayne
1.
“MYSTERY” 9. “IT AIN’T OVER ’TIL
Turnstile IT’S OVER”
Lenny Kravitz

10. “PIN”
Yeah Yeah Yeahs

11. “I LOVE YOU”

Fontaines D.C.
2.
12. “SLIPPERY PEOPLE”
“PLASTIC BAG”
Talking Heads
X-Ray Spex

13. “PARTY”
Beyoncé feat. André
3000

14. “ATOMS FOR

PEACE”
Thom Yorke
3.
“I’LL CALL B4 I CUM” 15. “WHAT CAN YOU
Outkast feat. Gangsta Boo SAY”
and Eco Adrianne Lenker

16. “DON’T WANNA

FIGHT”
Alabama Shakes

17. “BOTH SIDES NOW”

4. Judy Collins

“IT’S NOT UP TO YOU”

18. “OH BABY”
Björk
LCD Soundsystem

Listen to Hayley
Williams’s full playlist
exclusively on
Apple Music.

5.
“SUGGESTION”
Fugazi

“I want PARAMORE to be known as one of the GREATS, but our FRIENDSHIP is also our LEGACY,”
says HAYLEY WILLIAMS. “We MET when we were 12; we’ve FOUGHT hard to STICK TOGETHER.”
In February, the Grammy-winning pop-punk band—with lead vocal- Franz Ferdinand, who all heavily inspired Paramore as young
ist Williams, guitarist Taylor York, and drummer Zac Farro, who musicians. “As we’ve gotten older, we’ve started to think about
began playing together in high school—released its sixth studio what we want to leave behind,” says Williams. “We want our songs
album, This Is Why. It’s Paramore’s first record after a six-year and our musicality to take the forefront.” For this issue, Williams
hiatus, during which Williams recorded two solo albums: Petals for curated a playlist with the theme of legacy. Along with “I’ll Call B4
Armor (2020) and Flowers for Vases/Descansos (2021). “Taking I Cum” by Outkast (featuring the late rapper Gangsta Boo), she
a break allowed us to do more growing that we couldn’t do in included hardcore band Turnstile’s hard-charging track “Mystery”
front of the world,” she says. Mining urgent themes like anxiety, and Björk’s Vespertine-era electro ballad “It’s Not Up to You.” “Björk
the news cycle, and the war in Ukraine, This Is Why draws on the is a legend,” says Williams. “She is the perfect balance of a soulful
sonic energy of mid-2000s bands like Bloc Party, Foals, and singer who sings through the lens of a punk singer.” ARIANA MARSH

80 PHOTOGRAPH BY ZACHARY GRAY B A Z A A R

 C O N T E N T S
60. EDITOR’S LETTER NEWS & CULTURE
80. PLAYLIST: HAYLEY WILLIAMS 128. SHE’S BRINGING SEXY BACK
88. WHY DON’T YOU…? Text by Rachel Tashjian
91. CONTRIBUTORS 131. FASHION & CULTURE NEWS
132. BUILDING THE FUTURE
Text by Alison S. Cohn
THE BAZAAR

FROM TOP, PARIS HILTON: MAX FARAGO; FASHION EDITOR: YASHUA SIMMONS; HAIR: LAUREN PALMER-SMITH; MAKEUP: SANDY GANZER. KAI NEWMAN: PHILIP-DANIEL
133. TRAVEL: LIVING HISTORY

DUCASSE; FASHION EDITOR: TONY IRVINE; HAIR: MELLEISA DAWKINS; MAKEUP: ERNEST ROBINSON III; MANICURE: SHANNON MARCH. MARYAM NASSIR ZADEH
95. THE SHOE Text by Gisela Williams
Balenciaga Clogs

SPRING 2023 BACKSTAGE: ANDRES ALTAMIRANO. BILLIE JEAN KING AND TORY BURCH: KIRA BUNSE; SITTINGS EDITOR: MIGUEL ENAMORADO.
MARKET MEMO
96. Polka-Dot Blouses BEAUTY
98. Waistcoat Suits 135.
101. THE SCOPE THE NEW ’90S
Akris Hearts Print Text by Tia Williams
104. IN THE MARKET 140.
Pointed-Toe Pumps INSPIRATION BOARD: ZOË KRAVITZ
105. THE EVENING BAG As told to Katie Intner
Hermès Bucket Bag 145. 142.
FOUR OF A KIND PARIS HILTON ALL IN THE FAMILY
106. Fold-Over Bags Text by Jamie Wilson
111. Watches and Bracelets
108. THE NECKLACE
Bulgari High Jewelry
109. JEWELRY SPECIAL
Snake Rings
110. THE GOOD BUY
Panthère de Cartier Watch
113. SPORTSWEAR GUIDE

VOICES
118. IN CONVERSATION:
BILLIE JEAN KING AND
TORY BURCH
Text by Ariana Marsh
Photograph by Kira Bunse On Paris Hilton cover with cushions:
122. THE POWER OF THE Prada dress, $4,800, knit, $1,320,
and shoes; prada.com. Cartier
SISTERHOOD earrings; 800-CARTIER. On Hilton
Text by Kaitlyn Greenidge 166. cover with sequins: Valentino

124. IN CONVERSATION: KAI NEWMAN jumpsuit; similar styles available at

212-772-6969. Van Cleef & Arpels
BILL T. JONES AND necklace; 877-VAN-CLEEF. To get
Hilton’s look, try Forever Skin Correct
HENRY LOUIS GATES JR. Concealer ($40), Diorshow Pump ’N’
Text by Ariana Marsh Volume ($29.50), Diorshow Kabuki
Brow Styler ($32), and Dior Addict
Lip Maximizer ($40). All, Dior. On Kai
From top, on Hilton: Prada dress, Newman cover: Gucci top, $2,400,
$4,800, knit, $1,320, and shoes; and skirt, $1,890; gucci.com.
prada.com. Cartier earrings; Lafayette 148 New York earrings,
800-CARTIER. On Newman: Gucci $298; lafayette148ny.com. Sophie
top, $2,400, and skirt, $1,890; Buhai rings; $650–$850; sophiebuhai
gucci.com. Lafayette 148 New York .com. Ariana Boussard-Reifel ring,
earrings, $298; lafayette148ny.com. $225; arianaboussardreifel.com.
Sophie Buhai rings, $650–$850; Bottega Veneta pumps; bottega
sophiebuhai.com. Ariana Boussard- veneta.com. To get Newman’s look,
Reifel ring, $225; arianaboussard try Skin Enhance Luminous Tinted
reifel.com. Bottega Veneta pumps; Serum ($49), Ultra-Black Lash Lift
bottegaveneta.com. “She’s Bringing Serum Mascara ($28), Solar Infusion
Sexy Back”: Backstage at Maryam Soft-Focus Cream Bronzer ($36), and
Nassir Zadeh, Spring 2023. Satin Lip Color Rich Refillable Lipstick
In Conversation: Billie Jean King in Besotted ($28). All, Rose Inc. See
and Tory Burch. the Directory for shopping details.

82 B A Z A A R
 C O N T E N T S

MICHINA KOIDE. ANIKA COLLIER NAVAROLI: DEIRDRE LEWIS; FASHION EDITOR: NICHOLAS GRASA; HAIR: ELISE BIGLEY; MAKEUP: HETHER BECKREST; MANICURE: ROCHELLE DINGMAN. FROM “THE ELEMENTS OF STYLE”:
COVERS FEATURES

STEFANIE MOSHAMMER; ACCESSORIES DIRECTOR: MIGUEL ENAMORADO. FROM “NEUTRAL TERRITORY”: PIETER HUGO; FASHION EDITOR: SAMUEL DRIRA; MODEL: CHU WONG; HAIR: ANNE SOFIE BEGTRUP; MAKEUP:
CLOCKWISE FROM TOP, FROM “THE BLACK & WHITE ALBUM”: AMY TROOST; FASHION EDITOR: CAROLINE NEWELL; MODEL: EDIE CAMPBELL; HAIR: TAMARA McNAUGHTON; MAKEUP: KANAKO TAKASE; MANICURE:
145. 200.
RECONSTRUCTING PARIS SUPER EVERYTHING

ASAMI KAWAI; MANICURE: SALLY DERBALI. FROM “LIGHT IT UP”: JESSICA MADAVO; FASHION EDITOR: NELL KALONJI; MODEL: ADHEL BOL; HAIR: CLAIRE GRECH; MAKEUP: LAURA DOMINIQUE.
Story by Emma Carmichael Story by Otegha Uwagba
Photographs by Max Farago Styling by Marika-Ella Ames
Styling by Yashua Simmons
216.
166. AFTER THE WHISTLE BLOWS
GOING HOME Story by Prachi Gupta
Text by Kaitlyn Greenidge Photographs by Deirdre Lewis
Photographs by Philip-Daniel Ducasse Styling by Nicholas Grasa
Styling by Tony Irvine

224. DIRECTORY
FASHION 226. TRIBUTE: VIVIENNE WESTWOOD
154.
THE BLACK & WHITE ALBUM
Photographs by Amy Troost
Styling by Caroline Newell

180.
THE ELEMENTS OF STYLE
Photographs by Stefanie Moshammer

190.
NEUTRAL TERRITORY
Photographs by Pieter Hugo
Styling by Samuel Drira

206.
LIGHT IT UP
Photographs by Jessica Madavo
Styling by Nell Kalonji

From top, from “The Black & White Album”:

Alexander McQueen gown; 332-214-7080.
Louis Vuitton boots; 866-VUITTON. From
“Light It Up”: Moschino bikini, $480;
nordstrom.com. Moschino hat; 212-226-8300.
Moschino earrings, $395; lauragambucci.com.
Falke Family tights, $45; falke.com. On Anika
Collier Navaroli, from “After the Whistle Blows”:
anOnlyChild shirt, $620, and pants, $790;
anonlychild.com. Eyewear and necklace, her
own. Nouvel Heritage bangle, $4,400;
nouvelheritage.com. Khiry ring, $365; khiry.com.
Dinh Van rings, $3,250–$4,840; dinhvan.com.
From “The Elements of Style”: Khaite boots,
$12,000; khaite.com. From “Neutral Territory”:
Uma Wang transparent dress, $795, tank,
$230, and skirt, $446; umawang.com.
Miu Miu leather skirt, $3,750; miumiu.com.
Max Mara hat; 212-879-6100. Dolce & Gabbana
gloves, $395; 877-70-DGUSA. No21 socks;
numeroventuno.com. Loewe shoes,
$390; loewe.com.

86 B A Z A A R
www.akris.com
 WHY
The Month in CULTURE and STYLE
1 STREAM
DAISY JONES & THE SIX
Starring Riley Keough, Camila Morrone,
and Suki Waterhouse, this new miniseries,
based on the novel by Taylor Jenkins
Reid, follows the meteoric rise—and messy
crash—of a fictional 1970s rock band.
Executive-produced by Reese Witherspoon,
the show premieres on Amazon March 3.
DON’T YOU. . . ?
4 SEE
LIFE OF PI ON BROADWAY
The new stage adaptation of Yann
Martel’s Booker Prize–winning 2001
novel debuts on March 9, charting
the existential journey of a 16-year-
old boy after a shipwreck leaves him
stranded on a lifeboat with a hyena,
zebra, orangutan, and Bengal tiger.

5 EXPERIENCE
“WANGECHI MUTU: INTERTWINED”
On March 2, New York’s New Museum will present a comprehen-
sive survey of the Kenyan American visual artist, bringing
2 GET together more than 100 works encompassing painting, collage,
ONE LAST BITE AT NOMA sculpture, film, and performance from her 25-year career.
René Redzepi may have
announced plans to close his 6 DRESS
famed Copenhagen restaurant FROM THE HIP
next year, but from March 15 Trade in those Y2K-inspired
to May 20, Kyoto, Japan, will low-rise jeans for hip-hugging
play host to a 10-week pop-up trousers worn with a cropped
in the city’s Ace Hotel. Both jacket or bustier for a fresh take
the lunch and dinner menus on the going-out top, as seen
will incorporate Japanese at Stella McCartney, LRS,
cooking methods and regional and Alexander McQueen.
ingredients like Kujo green
onions, Kintoki red carrots,
and cherry blossoms.

3 MAKE
A SPLASH 7 WAKE UP
Spring is the best time to wade into the WITH THE MOON
world of water-based fragrances, like In her new cookbook, Lune,
Forêt de Komi by Officine Universelle Buly, Kate Reid, the founder of
which are composed mostly of botanical Australian bakery Lune Crois-
oils and other naturally derived ingredients, santerie, offers instructions for
last longer, and are gentler on skin. making her renowned pastries.

SEBASTIAN CHACON, WILL HARRISON, JOSH WHITEHOUSE, SUKI WATERHOUSE, AND SAM CLAFLIN IN DAISY JONES & THE SIX: LACEY TERRELL/PRIME VIDEO; RENÉ REDZEPI AT A KYOTO
FOOD MARKET: AMY TANG; OFFICINE UNIVERSELLE BULY’S EAU TRIPLE FORÊT DE KOMI: COURTESY THE BRAND; ROWAN MAGEE AND ADI DIXIT IN LIFE OF PI: MATTHEW MURPHY AND
EVAN ZIMMERMAN FOR MURPHYMADE; WANGECHI MUTU, YO MAMA, 2003, INK, MICA FLAKES, ACRYLIC, PRESSURE-SENSITIVE FILM, CUT-AND-PASTED PRINTED PAPER, AND PAINTED
PAPER ON PAPER, DIPTYCH, OVERALL 59 1/8 × 85 IN (150.2 × 215.9 CM): THE MUSEUM OF MODERN ART, NEW YORK, THE JUDITH ROTHSCHILD FOUNDATION CONTEMPORARY DRAWINGS
COLLECTION GIFT, 2005, COURTESY THE ARTIST AND VIELMETTER LOS ANGELES, PHOTO BY ROBERT EDEMEYER; LUNE: CROISSANTS ALL DAY, ALL NIGHT: HARDIE GRANT BOOKS;
STELLA MCCARTNEY AND ALEXANDER MCQUEEN SPRING 2023 RUNWAY: COURTESY THE DESIGNERS; LRS SPRING 2023 RUNWAY: JACOB PRITCHARD/COURTESY THE DESIGNER

88 TEXT BY ARIANA MARSH B A Z A A R

 Editor in Chief
SAMIRA NASR

Creative Director
LAURA GENNINGER

Executive Editor
LEAH CHERNIKOFF

Executive Managing Editor

CARYN PRIME

Executive Fashion Director

NICOLE FRITTON

Senior Digital Director

NIKKI OGUNNAIKE

Entertainment Director
ANDREA CUTTLER

Managing Editor
CARL KELSCH

FASHION ART
Accessories Director MIGUEL ENAMORADO Art Director GARY PONZO
Fashion News Director RACHEL TASHJIAN Digital Design Director PERRI TOMKIEWICZ
Deputy Fashion News Editor ALISON S. COHN Senior Designer OLIVIA ALCHEK
Senior Fashion & Accessories Editor JACLYN ALEXANDRA COHEN Art & Color Coordinator JUSTIN MAIN
Senior Digital Fashion Editor TARA GONZALEZ Digital Imaging Specialist KEVIN ARNOLD
Fashion & Retail Credits Editor ALICIA BANILIVY
Fashion Commerce Editor HALIE LESAVAGE VISUAL
Assistant Fashion Editor NICOLE TRIPODIS Visual Director NATASHA LUNN
Assistant Accessories Editor JENNIFER JENKINS Digital Visual Director JENNIFER ALGOO
Contributing Fashion Assistants BRINLEY KNOPF, ANGEL MONGE, MAYRA MORALES, Photo Archivist & Research Editor KARIN KATO
ADESUWA ODIASE, EVELYN TRUAX, MADELEINE WILLIAMS Deputy Visual Director MARINA SCHOGER
Contributing Visual Editor KATIE DUNN
BEAUTY Chief Visual Content Director, Hearst Magazines ALIX CAMPBELL
Contributing Beauty Director GENEVIEVE MONSMA
Digital Beauty Director JENNA ROSENSTEIN VIDEO
Beauty Editor JAMIE WILSON Senior Video Producer JOEL DAVID AHUMADA
Associate Beauty Editors TIFFANY DODSON (Commerce), KATIE INTNER
ADMINISTRATION
NEWS & FEATURES Editorial Business Director CAROL LUZ
Features Director KAITLYN GREENIDGE Editorial Business Manager KATHERYN REMULLA
Editor at Large STEPHEN MOOALLEM
Digital Deputy Editor IZZY GRINSPAN CONTRIBUTING EDITORS
Special Projects Editor NOJAN AMINOSHAREI AMANDA ALAGEM, ANITA BITTON
Senior Features Editor ARIANA MARSH
Digital Senior News Editor ROSA SANCHEZ
Senior Social Media Editor MARIAH MORRISON
Digital Culture Editor BIANCA BETANCOURT
Digital Associate Editor CHELSEY SANCHEZ
Executive Assistant to the Editor in Chief ALEXANDRA DELIFER
Editorial & Social Media Assistant SABRINA PARK

COPY & RESEARCH

Copy Chief SARAH STRZELEC
Research Chief JIL DERRYBERRY
Copy Editor LIEF NIELSEN

0 3 / 2 3 89
 Senior Vice President/Group Publishing Director
CAROL A. SMITH
Vice President/General Manager
ANNE WELCH
Executive Director, Advertising Business Operations Group Executive Marketing Director & Sales Strategy
JEANINE TRIOLO LISA PIANA
Group Finance Manager
RON SABATINI
INTEGRATED ADVERTISING SALES
Group Executive Director, Beauty & Lifestyle JOANNA NOWACK MELISSAKIS
Group Executive Director, Fashion & Luxury AARON KRANSDORF
Senior Executive Sales Director, Luxury KATE SLAVIN
Executive Sales Director, Fashion PAULA FORTGANG
Executive Sales Director, Luxury CARYN KESLER
Executive Sales Directors, Beauty ANGELA PARAUDA, JILL SCHLANGER-SLIVKA
Executive Sales Director, Travel RW HORTON
Executive Sales Director, Lifestyle TAMMY COHEN
Executive Sales Director, International Fashion MICHAEL RIGGIO
Senior Sales Director, Beauty LAUREN DEL VALLE
Associate Sales Director, Fashion SARA OLDMIXON
Associate Director, Lifestyle LINDSAY TURKISH
Senior Sales Manager, Direct Media ANGELA HRONOPOULOS
Fashion Coordinator HALLEY DEONARINE
Sales Assistants IZZI FRIEDMAN, CAMERON MCGEE, KERRY TRAVERS
INTEGRATED MARKETING
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Associate Marketing Manager HANNAH BUTLER
Marketing Coordinators ISABELLE ADLER, KENDRA WILLIAMS
Marketing Assistant MCKENZIE SUTHERLAND
BRAND DEVELOPMENT
Executive Marketing Director, Research & Brand Development NICOLE SPICEHANDLER
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CREATIVE SERVICES
Executive Creative Director THEA KARAS
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Editorial Director at Large JADE FRAMPTON
E-Commerce Director MIR MARTZ
Senior Content & Social Media Manager MINNA SHIM
Senior Fashion Editor & Brand Manager JESSICA RAWLS
E-Commerce Operations Manager XIOMARA FLORIAN
Assistant Managing Editor LYNDSEY NOEL
Assistant Merchandising Editor REMY SCHIFFMAN
Manager, Brand Partnerships KATHLEEN O’KEEFE
Digital Designer SARAH OLIVIERI
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90
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Singapore, Spain, Taiwan, Thailand, Turkey, Ukraine, United Kingdom, Vietnam
HEARST MAGAZINES INTERNATIONAL
President JONATHAN WRIGHT
SVP/Editorial & Brand Director KIM ST. CLAIR BODDEN
Deputy Brands Director CHLOE O’BRIEN
Executive Director, Content Services SHELLEY MEEKS
Global Editorial Director, Luxury Brands ELÉONORE MARCHAND
CUSTOMER SERVICE
Call: 800-888-3045 E-mail: harcustserv@cdsfulfillment.com Visit: harpersbazaar.com/service
Write: Customer Service Department, Harper’s Bazaar, P.O. Box 6000, Harlan, IA 51593
B A Z A A R
 C O N T R I B U T O R S
ON THE PEOPLE WHOSE LEGACIES THEY ADMIRE
FARAGO: CLARA CULLEN; SIMMONS: KADEEM JOHNSON; UWAGBA: OLLIE TRENCHARD; DUCASSE: SALVATORE IAN DEMAIO; GUPTA: RUBEN CHAMORRO; WILLIAMS: PAULINE ST. DENIS

MAX FARAGO EMMA CARMICHAEL YASHUA SIMMONS

PHOTOGRAPHER: WRITER: STYLIST:
“Reconstructing Paris,” “Reconstructing Paris,” “Reconstructing Paris,”
page 145 page 145 page 145

“My grandfather Peter
Farago. He survived the
Holocaust and was able to
make his way to the United
States, where he created
a stable and safe life for his
children and grandchildren.
He was kind, gentle,
and intelligent.”
“Billie Jean King, for
leading the way in the
ongoing fight for equal pay
for women athletes—
and always wearing a
great blazer.”
“It’s quite impressive that in
my lifetime I have witnessed
firsthand a duo who have
lived many lives, all while
leaving echoes that inspire
and fuel me. It’s the legacy
of my mom and dad that
I admire the most.”

OTEGHA UWAGBA PHILIP-DANIEL DUCASSE PRACHI GUPTA TIA WILLIAMS

WRITER: PHOTOGRAPHER: WRITER: WRITER:
“Super Everything,” “Going Home,” “After the Whistle Blows,” “The New ’90s,”
page 200 page 166 page 216 page 135

“From a fashion perspective,
Phoebe Philo. She completely
revolutionized the way a
whole generation of women
dresses, and you only have to
walk down the street in any
major city to spot women
who’ve been influenced by
her style sense. I think that’s
hugely impressive.”
“I’m inspired by Toussaint
Louverture’s legacy of
revolutionary leadership.
It fills me with pride knowing
that this is my tradition,
that my ancestors fought for
their freedom—and won.
For me, and for all Haitians,
he truly represents the
meaning of his surname,
l’ouverture: ‘the one who
opened the way.’”
“I will always be grateful for
bell hooks, whose insights on
feminism, race, and gender
have deeply affected my own
perspectives. The radical
visions and understanding of
love, compassion, liberation,
and spirituality that she
espoused in both her writing
and in her daily practice
continue to feel prescient,
even after her death.”
“When I’m creatively blocked,
I think of fashion designer
Ann Lowe. The first Black
woman to own a Madison
Avenue shop, she created
gowns for first ladies, movie
stars, and café society—
but racism kept her
an industry secret. I love
that her legacy is being
celebrated now.”

0 3 / 2 3 91
 T H E B A Z A A R
WHAT TO BUY AND HOW TO WEAR IT
EDITED BY JACLYN ALEXANDRA COHEN
ACCESSORIES DIRECTOR: MIGUEL ENAMORADO

Let It
SHINE

Balenciaga Technoclog
Strass shoes, $8,300 per pair;
balenciaga.com.

What if the TRADITIONAL Dutch WOODEN CLOG were

3D-PRINTED and covered in glittering RHINESTONES?
BALENCIAGA has the ANSWER.

0 3 / 2 3 PHOTOGRAPH BY RICHARD MAJCHRZAK 95

 T H E B A Z A A R
MARKET MEMO: Polka-Dot Blouses

SPOT On

FASHION EDITOR: JACLYN ALEXANDRA COHEN. BMUET(TE) RUNWAY: MAJA SMIEJKOWSKA FOR CHRIS YATES MEDIA; BATSHEVA RUNWAY:
= BUY ON SHOPBAZAAR.COM
NILI LOTAN SALON 1884 EQUIPMENT PROENZA SCHOULER

GORUNWAY; ALL RUNWAY: COURTESY THE DESIGNERS; STILL LIFE: RICHARD MAJCHRZAK/STUDIO D.
FROM LEFT: BMUET(TE), SAINT LAURENT, CHANEL, BATSHEVA, BURBERRY, PROENZA SCHOULER

From left: Nili Lotan

shirt, $595; shopBAZAAR
.com. Salon 1884 shirt,
$1,090; neimanmarcus.com.
Equipment shirt, $295;
equipmentfr.com. Proenza
Schouler shirt, $890;
212-420-7300.
WHY DON’T YOU...?
Add another
dimension with a
structured EAST-
WEST BAG.

Clockwise from top: Tory Burch

bag, $598; toryburch.com. Givenchy
mini bag, $1,690; givenchy.com.
Miu Miu bag, $2,800; miumiu.com.

96 B A Z A A R
 T H E B A Z A A R
MARKET MEMO: Waistcoat Suits

VESTED Interest

FASHION EDITOR: JACLYN ALEXANDRA COHEN. MODEL: MAYOWA NICHOLAS; RUNWAY: COURTESY THE DESIGNERS; GABRIELA HEARST VEST,
PANTS, AND SANDAL AND CHURCH’S SANDAL: COURTESY THE BRANDS; ALL OTHER STILL LIFE: RICHARD MAJCHRZAK/STUDIO D
CHANEL

WHY DON’T YOU...?

Add some ease
with a pair
of FISHERMAN
SANDALS. STELLA MCCARTNEY

Clockwise from top left:

Brunello Cucinelli gilet,
$2,795, and pants,
$1,695; 212-334-1010.
Saint Art waistcoat, $155,
and trousers, $185;
saintartnewyork.com.
Free People tuxedo set,
$308; freepeople.com. ULLA JOHNSON
Gabriela Hearst vest,
$990, and pants, $1,090; From top left: Church’s sandal, $1,120; farfetch.com. Tod’s sandal,
gabrielahearst.com. $895; tods.com. Gabriela Hearst sandal, $890; gabrielahearst.com.

98 PHOTOGRAPH BY JODY ROGAC B A Z A A R

 T H E B A Z A A R
THE SCOPE: Akris Hearts Print

Labors of LOVE
AKRIS marks 100 years by CELEBRATING a LEGACY
of CREATIVE COLLABORATION
FASHION EDITOR: JACLYN ALEXANDRA COHEN. PROP STYLING: ELLA PERDEREAU; INSET PHOTOS: COURTESY AKRIS

Akris Anouk day bag,

$1,790; akris.com.

“Fashion never is a solo love affair,” says Akris creative director Albert
Kriemler. “A collection is always a collective achievement.” It’s an ethos in
the DNA of the family-run Swiss house, which was founded by Kriemler’s
grandmother Alice in St. Gallen in 1922 and is known for collectible prints
and architectural designs. To mark Akris’s centennial last year, Kriemler
paid tribute to that history in the Spring 2023 collection, which featured
archival silhouettes and a custom multicolor heart print from the Fall 1989
collection created by Italian print designer and manufacturer Gianpaolo
Ghioldi. That earlier collection marked the first time Ghioldi—a supplier to
storied couture houses like Dior, Saint Laurent, and Valentino—had worked
on ready-to-wear. Ghioldi has now collaborated with Akris for more than
three decades. “When the fabric rolls arrive, I can always see what is a
Ghioldi roll,” says Kriemler. “It shows me what it means to have a human
being, a like-minded person, involved in creating something.” ALISON S. COHN

0 3 / 2 3 PHOTOGRAPH BY FLORENT TANET 101

TOMFORD.COM
 T H E B A Z A A R
IN THE FASHION CLOSET: Pointed-Toe Pumps

Top NOTES

= BUY ON SHOPBAZAAR.COM
VALENTINO GARAVANI PUMPS, $920; SIMILAR DOLCE & GABBANA PUMPS, $795; 877-70-DGUSA. GIANVITO ROSSI PUMPS, $775; SHOPBAZAAR.COM.
STYLES AVAILABLE AT 212-772-6969.

Work all the angles

with a CLASSIC

FASHION EDITOR: JACLYN ALEXANDRA COHEN. SEE THE DIRECTORY FOR SHOPPING DETAILS.
HEEL in an unexpected
COLOR or FINISH

DSQUARED2 SHOES; DSQUARED2.COM/US. VERSACE PUMPS, $1,175; VERSACE.COM.

LANVIN PUMPS, $790; LANVIN.COM.

MOSCHINO HEELS, $785; SAKSFIFTHAVENUE.COM. LOEWE PUMPS, $950; SHOPBAZAAR.COM.

TOM FORD PUMPS, $1,890; SHOPBAZAAR.COM.

104 PHOTOGRAPHS BY SHARON RADISCH B A Z A A R

 T H E B A Z A A R
THE EVENING BAG

Fringe
BENEFITS
HERMÈS’S TOUPET
BUCKET BAG gets a
ACCESSORIES DIRECTOR: MIGUEL ENAMORADO. SET DESIGN: CÉLINE CORBINEAU. SEE THE DIRECTORY FOR SHOPPING DETAILS.

playful update INSPIRED

by the SPIRIT of
the ROARING 1920s
with a fiery-hued
FEATHER SKIRT

Hermès Toupet handbag; hermes.com.

PHOTOGRAPH BY PETER LANGER

 T H E B A Z A A R
4 OF A KIND: Fold-Over Bags

Practical MAGIC

= BUY ON SHOPBAZAAR.COM
FASHION EDITOR: MIGUEL ENAMORADO. MANICURE: AJA WALTON FOR ESSIE. SEE THE DIRECTORY FOR SHOPPING DETAILS.
A luxe LEATHER TOTE that does DOUBLE DUTY
as a ROOMY CLUTCH is the ultimate BAG of TRICKS

Top left: Brunello Cucinelli vest, $3,795, and pants, $1,695; Bottom right: Cos sleeveless blazer, $175, and trousers, $150;
212-334-1010. Proenza Schouler bag, $1,890; shopBAZAAR.com. 855-842-1818. Gabriela Hearst clutch, $4,490; gabrielahearst.com.
Top right: Adam Lippes tuxedo vest, $2,490, and trousers, $1,890; Bottom left: Michael Kors Collection vest, $1,590, and trousers, $1,290;
adamlippes.com. Jil Sander by Lucie and Luke Meier bag; jilsander.com. michaelkors.com. Dries Van Noten tote, $1,695; driesvannoten.com.

106 PHOTOGRAPHS BY FUJIO EMURA B A Z A A R

T H E B A Z A A R
THE NECKLACE

ACCESSORIES DIRECTOR: MIGUEL ENAMORADO. PROP STYLING: ELLA PERDEREAU. SEE THE DIRECTORY FOR SHOPPING DETAILS.
Purple REIGN
Inspired by BULGARI’s 1950s and
1960s designs, this AMETHYST
NECKLACE showcases 14 jumbo
CABOCHONS and oozes La Dolce
Vita–era ITALIAN GLAMOUR

Bulgari High Jewelry necklace;

800-BULGARI.

PHOTOGRAPH BY FLORENT TANET

 T H E B A Z A A R
JEWELRY SPECIAL: Snake Rings

Real CHARMERS
= BUY ON SHOPBAZAAR.COM
SYLVIE CORBELIN RING: RICHARD MAJCHRZAK/STUDIO D; ALL OTHER RINGS: COURTESY THE BRANDS. SEE THE DIRECTORY FOR SHOPPING DETAILS.

The most mesmerizing GOLD

SERPENTINE RINGS offer bejeweled and
sculptural TWISTS on a CLASSIC MOTIF,
considered a SYMBOL of LOVE, POWER,
REBIRTH, and GOOD FORTUNE
Clockwise from top left: Le Vian ring, $10,648; levian.com. Ilaria Icardi snake ring, $5,950; ilariaicardi.com.
FoundRae bands, from $2,850 for two; shopBAZAAR.com. Tiffany & Co. Elsa Peretti snake ring, $2,000; tiffany.com.
Bulgari Serpenti ring; bulgari.com. Sylvie Corbelin snake ring, $5,500; Broken English, 212-219-1264.

0 3 / 2 3 109
 T H E B A Z A A R
THE GOOD BUY: Panthère de Cartier Watch

Precious MOMENTS

FASHION EDITOR: JACLYN ALEXANDRA COHEN. STILL LIFE: RICHARD MAJCHRZAK/STUDIO D. SEE THE DIRECTORY FOR SHOPPING DETAILS.
Panthère de Cartier watch; 800-CARTIER.

Good American CEO and cofounder EMMA GREDE on what makes her TICK
I am not somebody who buys into crazy fashion. I buy beautiful
things that last and wear the same things over and over again
quite happily. They become like treasures to me. I wear Good
American jeans almost every single day, and I have more white
shirts than anybody else. I also love gold jewelry but wear the
same pieces on rotation. I’m from East London, so once a girl in
a gold hoop, always a girl in a gold hoop. The first watch I ever
bought myself was a steel Cartier Santos watch. I worked really
close to Bond Street in the West End of London, and I would go
past the Cartier store all the time and look in the window. I just
wanted the red box so much. My Panthère watch was a Mother’s
Day gift from my kids—or from my husband to my kids to me.
I always thought about buying it for myself, but it felt too
indulgent. My kids were so proud. It’s funny because my son
always says, “Oh, you’re wearing the watch I bought you.” It just
makes me giggle. I love that it’s the larger format size. It sits flat
on your wrist, and there’s nothing flashy about it at all. It’s such
a classic, so elegant, and one of the most beautiful things I own.
I wear it pretty much every day, usually with a pair of matching
gold Engelbert bracelets. For me, the watch is a constant
reminder of how precious time is and how it’s your choice how
you spend it. AS TOLD TO ARIANA MARSH

110 PHOTOGRAPH BY DENNIS LEUPOLD B A Z A A R

 T H E B A Z A A R
4 OF A KIND: Watches and Bracelets

Good TIMES
= BUY ON SHOPBAZAAR.COM
FASHION EDITOR: MIGUEL ENAMORADO. MANICURE: HONEY FOR LONDONTOWN. SEE THE DIRECTORY FOR SHOPPING DETAILS.

Who says a WATCH should be worn solo? Try mixing TWO—or MORE—
with an assortment of METAL BRACELETS and BANGLES.

Toteme shirt (worn throughout), $680; shopBAZAAR.com. Brunello Cucinelli pants
(worn throughout), $2,295; 212-334-1010. Top left, from left: Tacori Crescent Eclipse
bangles, $7,990 each; tacori.com. Longines DolceVita watch, $1,350; longines.com.
Messika Paris bracelet, $9,020; messika.com. De Beers Forevermark line bracelet;
forevermark.com. Longines DolceVita watch, $1,350; longines.com. Ariana Boussard-
Reifel cuff, $395; arianaboussardreifel.com. Top right, from left: Pomellato Brera
bracelet; 929-667-1967. Breguet Classique 8067 watch; 646-692-6469. Le Vian
bracelet, $3,898; levian.com. Breguet Reine de Naples 9808 watch; 646-692-6469.
Pomellato Iconica bracelet, $13,200; 929-667-1967. Pomellato Iconica bangle,
$7,500; 929-667-1967. Bottom right, from left: Bulgari B.zero1 bracelet, $5,650;
bulgari.com. Nouvel Heritage bangle, $4,400; nouvelheritage.com. Rolex Datejust 31
watch; rolex.com. Minty Taboo tennis bracelet, $6,900; mintydiamonds.com. Tiffany
& Co. pearl bracelet, $1,050; tiffany.com. Rolex Air-King Oystersteel watch, $7,400;
rolex.com. Nouvel Heritage bangle, $5,000; nouvelheritage.com. Bottom left,
from left: Pasquale Bruni bracelet; us.pasqualebruni.com. Omega Constellation
watch; omegawatches.com. Omega Mini Trésor watch; omegawatches.com. Le Vian
bracelet, $3,898; levian.com. Omega Seamaster Aqua Terra watch, $10,900;
omegawatches.com. Tiffany & Co. HardWear link bracelet, $9,400; tiffany.com.

0 3 / 2 3 PHOTOGRAPHS BY FUJIO EMURA 111

 THE EXCLUSIVES

From the EDITORS of HARPER’S BAZAAR

A NEW SEASON ALWAYS FEELS LIKE AN AWAKENING, a new chapter in your story—and our editors wanted this fresh edit of exclusives
to reflect just that. Positive, hopeful, and playful, these smile-inducing, wanderlust-sparking pieces feel like spring’s first rays of sunshine.

From the use of locally sourced materials to

the 18k gold–plated accents, no detail is too
small for CESTA COLLECTIVE. Thoughtfully
handcrafted, this crossbody is the rainbow
you’ve been chasing.
Cesta Collective bag,
$625.

ALL STILL LIFE: COURTESY OF THE BRANDS. MODEL IMAGE: MICHELLE BEATTY.
Inspired by dreamy European getaways,
this retro-print matching set from London-based
KITRI is a charming way to welcome the lovely
weather and get ready for your upcoming escapes.
Kitri shirt, $195, and pants, $195.

The blue skies will put

a spring in your step,
Jewelry from AGMES is a sight
but LABUCQ will boost
to behold. These modern
it to new heights with
pearl drops are punctuated with
these candy-colored
bold lapis beads and fall to your
flatform sandals.
shoulders, delicately swaying
Labucq sandals, with each movement. Elegant drama
$450 per pair.
has entered the conversation.
AGMES earrings, $560.

SCAN THE CODE TO

With the future already looking bright, SHOP ALL OUR EXCLUSIVES
AND DISCOVER MORE
you don’t need rose-colored glasses, but when
EDITORS’ PICKS
they’re this stylish, why not add an extra dose ON SHOPBAZAAR.COM.
of optimism? Best-selling brand CHIMI never
disappoints with its mood-lifting designs.
Chimi sunglasses,
$170.

= BUY ON SHOPBAZAAR.COM
 T H E X B A Z A A R
SPORTSWEAR GUIDE

Bottega Veneta leather flannel;

bottegaveneta.com.
FASHION EDITOR: JACLYN ALEXANDRA COHEN. SEE THE DIRECTORY FOR SHOPPING DETAILS.

AMERICAN Dreaming
The spirit of AMERICAN SPORTSWEAR was all over the spring runways, from
ELEVATED TAKES on staples like the PLAID SHIRT (in luxe leather at Bottega Veneta)
to sleek SPINS on the CLASSICS. Here, our breakdown of the key LOOKS and PIECES.

0 3 / 2 3 PHOTOGRAPH BY SHARON RADISCH 113

 T H
THE DENIM SHIRT
Worn by cowboys and ranchers,
it’s a foundational piece that
only gets better with age.
Closed denim shirt, $445; closed.com.
STYLING TIP
Take a long jean skirt up
a notch with a white blouse
and a cropped cardigan.
At right: Altuzarra
THE DENIM SKIRT
Denim midis and maxis have made
a roaring resurgence this season,
popping up at Burberry, Givenchy,
and Bottega Veneta.
Khaite skirt, $440; shopBAZAAR.com.
114
E B A Z A
SPORTSWEAR GUIDE: WESTERN
THE PLAID SHIRT
Rendered in flannel, wool, or even buttery
leather, it still checks all the boxes.
Clockwise from top left: We the Free by Free People
shirt, $128; freepeople.com. Gant x Wrangler shirt,
$150; gant.com. R13 shirt, $450; r13.com. Polo Ralph
Lauren shirt, $168; ralphlauren.com.
A R
MODEL IMAGE, CENTER: JODY ROGAC; MODEL: MAYOWA NICHOLAS; RUNWAY: COURTESY THE DESIGNER; SUNGLASSES:
= BUY ON SHOPBAZAAR.COM
THE TRUCKER JACKET
A pillar of American style,
it can be dressed up or down
and comes in a wide variety
COURTESY THE BRAND; ALL OTHER STILL LIFE: RICHARD MAJCHRZAK/STUDIO D.
of washes and cuts.
Guess Originals trucker jacket,
$118; guessoriginals.com.
THE BANDANNA
Wear it as a kerchief or tied on a bag.
From left: Mister Bandana western bandanna, $45;
misterbandana.com. Manner Market western scarf,
$68; similar styles available at mannermarket.com.
45R bandanna, $116; 917-237-0045.
THE BLACK-FRAMED SUNGLASSES
An enduring symbol of confidence and ease.
Jacques Marie Mage sunglasses,
$750; jacquesmariemage.com.
THE HIGH TOPS
It’s been a while since basketball players
wore Chuck Taylors on the court, but the
high-top style—now available in a range of
high-fashion iterations—still has game.
Jil Sander by Lucie and Luke Meier
sneakers; jilsander.com.
B A Z A A R
 T H
MODEL IMAGE, CENTER: SHARIF HAMZA; MODEL: ENIOLA ABIORO; RUNWAY: COURTESY THE DESIGNER; STILL LIFE: RICHARD MAJCHRZAK/STUDIO D
THE BOILER SUIT
Invented for coal-fire tenders
during the industrial revolution,
it’s the zip-front epitome
of utilitarian ease.
Brunello Cucinelli jumpsuit,
$4,795; 212-334-1010.
THE SUEDE WALKING SHOE
There’s nothing like a pair
of scuff- and stain-resistant
lace-ups to put a spring
in your step.
Clarks Originals moccasins,
$160; clarksusa.com.
0 3 / 2 3 115
E B A Z A A R
SPORTSWEAR GUIDE: WORKWEAR
THE KHAKI WORK SHIRT
Cut boxy in a sturdy twill,
with a pair of pleated breast
pockets, it offers both
function and finesse.
Brooks Brothers shirt, $128;
brooksbrothers.com.
STYLING TIP
Layer a henley over tees,
tanks, and long-sleeve shirts
for a textured take on basics.
At left: Bottega Veneta
THE HENLEY
The humble henley has come
a long way from its beginnings
as a cool-weather
underpinning for men,
with enough nonwaffle energy
to be worn on its own.
Free People henley, $158;
freepeople.com.
THE DOG-TAG NECKLACE
Part of the U.S. military uniform
THE ID BRACELET for more than a century, it’s
Engraved metal bands were first worn on the wrists of servicemen been reimagined in sterling
in World War II but have since crossed over into the world of fine silver and yellow gold.
jewelry, with plenty of room to make them your own. Tiffany & Co. Tiffany 1837 Makers
Tiffany & Co. ID bracelets, $775 (top) and $10,400 (bottom); tiffany.com. ID-tag pendant, $6,050; tiffany.com.
 T H
THE VARSITY JACKET
A canvas for self-expression,
the letterman jacket has
become fashion’s go-to sporty
statement piece.
Wales Bonner varsity jacket,
$3,055; walesbonner.net.
THE BASEBALL CAP
Always a home run.
New Era Cap LLC New York Yankees
cap, $33.99; neweracap.com.
THE CARDIGAN
Designers are breathing
new life into the classic
cable-knit sweater
with abstract prints
and ultramodern weaves.
Coach cardigan, $650; coach.com.
116
E B A Z A A R
SPORTSWEAR GUIDE: PREPPY
MODEL IMAGE, CENTER: SHANIQWA JARVIS; MODEL: KYLA RAMSEY; RUNWAY: COURTESY THE DESIGNER; BAG: COURTESY THE BRAND; ALL OTHER STILL LIFE: RICHARD MAJCHRZAK/STUDIO D
THE BLAZER
A dark double-breasted jacket
in a modern cut will take you
anywhere you want to go.
Derek Lam 10 Crosby jacket,
$550; dereklam.com.
THE CANVAS TOTE STYLING TIP
Originally designed to Take the edge off
carry ice, this roomy a crisp white shirt
carryall is now the ultimate with an easy knit
casual companion. or a sweater vest.
L.L.Bean tote, $44.95; llbean.com. At right: Prada
THE STRIPED TIE
Let it shine with a touch
of metallic thread.
From left: J. Press tie, $79;
jpressonline.com. Thom Browne tie,
$240; thombrowne.com. J.Crew tie;
similar styles available at jcrew.com.
THE PENNY LOAFER, THE OXFORD, AND THE BALLET FLAT THE PEARL STUDS
The ultimate preppy shoe wardrobe: comfortable, versatile, An understated pair is the
eminently grounding, and forever in fashion. essence of refinement.
From left: G.H. Bass Weejuns loafers, $155; ghbass.com. Church’s shoes, Mateo studs, $325;
$1,200; church-footwear.com. Margaux flats, $195; margauxny.com. mateonewyork.com.
B A Z A A R
Elegance is an attitude
Jennifer Lawrence

THE LONGINES
MASTER COLLECTION
 V O I C
THE PEOPLE AND IDEAS SHAPING THE CULTURE
Tennis legend BILLIE JEAN KING
and designer and philanthropist
TORY BURCH on CHANGING
THE GAME for WOMEN—in
SPORTS, BUSINESS, and LIFE
 S
ince their respective entrées into fashion and sports, designer
Tory Burch and tennis star Billie Jean King have used their
platforms and influence to fight for women’s equality.
Burch, who serves as the executive chairman and chief
creative officer of her eponymous brand, launched the Tory Burch
Foundation in 2009. “I’ve focused on the concept of building a
business where purpose is a given,” she says. “That was unheard of
19 years ago, when I started my company; people did not believe
in that.” Along with supporting female entrepreneurs by providing
access to capital, financial education, and digital resources, the
foundation hosts an annual summit where leaders across a range
of fields engage in a full day of conversations tackling the most
pressing issues facing women. Last year, King joined Burch onstage
for a discussion about her trailblazing tennis career and how she
helped pave the way forward for the female athletes who followed.
It has been 50 years since King beat 55-year-old retired
Wimbledon champion Bobby Riggs in what was promoted as
the Battle of the Sexes. (Riggs challenged King, then 29, to the
match to attempt to prove the inferiority of the female game.)
But to remember her accomplishments within the context of a
man’s (failed) agenda diminishes the full scope of her achieve-
ments. In 1970, King, along with eight other female players, broke
away from the United States Lawn Tennis Association (now the
United States Tennis Association) to start their own women-only
tour with prize money that would reward players more equitably.
Launched as the Virginia Slims Circuit, it grew into the Women’s
Tennis Association in just three years. That same year, King also
founded the Women’s Sports Foundation, a nonprofit dedicated
to advancing the lives of women and girls through sports, and
118 TEXT BY ARIANA MARSH / PHOTOGRAPH BY KIRA BUNSE
E S
SITTINGS EDITOR: MIGUEL ENAMORADO
she has since continued to tirelessly campaign for gender parity
and LGBTQ+ rights.
In 2020, the Fed Cup—the premier international team compe-
tition in women’s tennis since 1963—was renamed the Billie Jean
King Cup in honor of the pioneering player. For last year’s finals,
which took place in Glasgow, Scotland, in November, King wanted
to begin a new tradition of bestowing the victors with a custom-
made winner’s jacket, so she enlisted Burch, her longtime friend
and an avid tennis player, to design the garment. Rendered in
“Billie Blue,” the sharply cut blazer will, like King’s iconic cerulean
Adidas sneakers, remain an emblem of triumph and empowerment
for decades to come.
Here, King and Burch discuss the importance of role models,
building meaningful legacies, and tennis fashion’s bold new serve.
BILLIE JEAN KING: People don’t understand what sports do for
women. In sports, you learn the culture of business. Ninety-four
percent of women in C-suites identify with being an athlete, so
sports also point to leadership. Sports teach girls and women to
learn to trust their bodies and to be strong, not only physically
but emotionally and mentally, and they help with confidence.
And another thing, in a recent study on which sports increase life
expectancy, tennis came out number one. We live almost an extra
decade if we play it, Tory. And you play a lot more tennis than I do.
TORY BURCH: I’m laughing.
BJK: That’s why you’re such a good fit for the Billie Jean King Cup
and all the other things we do together.
TB: You’re always someone that I’ve looked up to. Women have not
always been included in our history books, but you have, and ➤
B A Z A A R
 “Now
ATHLETES are
PRIORITIZING
their MENTAL
HEALTH over
the GAME.
I LOVE it.
I LOVE the fact
that they HAVE
CHOICES.”
BILLIE JEAN KING
 V O I C E S
IN CONVERSATION

that’s a huge deal. When I was a young girl, I couldn’t talk about what was on my mind
having you as a role model was extremely at all. Being part of the LGBTQ community,
important. It showed me that you could I was considered a sociopath until 1973.
dream big and you could achieve anything. I was told that if I talked about my sexuality
I have this blind faith in you because of who or my challenges, we wouldn’t have a tour.
you are and the way that you changed the That’s not going to happen today. In fact,
dynamic for young women, men, and all they celebrate those things. Now athletes
genders. You have shown the world what are prioritizing their mental health over
is possible. the game. I love it. I love the fact that they
BJK: You do have to see it to be it a lot of have choices. I love that they have physio-
the time. What I’ve always done is visual- therapists, athletic trainers, massage
ize something and then ask myself, “How therapists, and all these other things that
can we get there?” And then we start. It’s we didn’t have. But I also know it can go
dream it, build it, dream it, build it. And away in a heartbeat.
that’s what you’ve done with your fashion TB: This year is the 50th anniversary of
brand, Tory. the Battle of the Sexes. I don’t know that
TB: I wasn’t aware of gender inequality when I remember watching it—I was around five
I was young. I grew up with three brothers, years old—but I remember that I knew about
and I never realized that I couldn’t do exactly it, and obviously it had a lot of impact.

FROM TOP: NOA GRIFFEL; ITF/KOPATSCH/ZIMMER

what they could do. It was when I got into I thought there was an arrogance to Bobby
the workforce that I really saw that. I realized Riggs, like why wouldn’t Billie beat him?
I could show women and men of all ages That was what my attitude was.
that we need to have a voice and speak up BJK: That was huge because 90 million
where we see inequity. When I founded Above: The Billie Jean King Cup people all over the world saw it. It changed
my company, my plan was to start a global champion’s jacket, designed by Tory Burch. tennis forever; everybody was on a tennis
Below: The victorious Swiss team
brand to empower and finance women in in their winner’s jackets at the 2022 court the next day. Also, I think women got
the United States. It’s been a journey. Billie Jean King Cup. a lot more self-confidence. I had so many
BJK: That’s what’s fun about it. You don’t women come up to me so excited about their
have that gratification at the end if something is easy as much as lives. They’d tell me they were never going to try to do something
you do when it’s challenging. I really like fashion. If you look at but that I changed their mind and they were going to go for it.
history, fashion tells you what’s going on. Back in the late 1800s, It was about social change, and I’m glad I won, because we had just
when tennis really got started, women could not show their ankles started the Virginia Slims Circuit in 1970, and the Battle of the
or their wrists and had to wear a corset. It’s shocking what they Sexes was in ’73. I also founded the Women’s Tennis Association
had to deal with. But you can see how things were loosened up as in ’73, which was really pivotal. I wanted the men and women to
time went on. In the 1900s, women started showing their wrists be together in an association, and the men always said no. So we
and their ankles and got rid of the corset. Tennis fashion was finally just started our own. It took more than 34 years to get equal
always fascinating to me. prize money for women at the majors. It was the same with the
TB: I have been thrilled to see how much tennis fashion has evolved World Cup of Tennis; men have had the Davis Cup since 1900.
and how tennis players today are embracing more individualistic TB: How did it feel to be in Glasgow for last year’s event, with
outfits on the court. I think that it is a symbol of empowerment the whole cup being named after you, which is the only name it
and confidence: People are going out and giving everything they should be called? (Continued on page 222)
have, and they need to feel like themselves while doing that. To
see Serena [Williams] and others not restricted in what they have
to wear now shows the sky’s the limit.
BJK: Players also have input with apparel companies today. I had
input back in the day too; it was so much fun working with design-
ers. I always wanted to be more on the cutting edge. It’s more fun.
TB: Billie, I think what you represent is a fearlessness. And I think
that’s what I see when I see Serena come onto the court dressed
how she does. There’s a fearlessness to it, and I love that.
BJK: The biggest difference in tennis now from my perspective
is that the acceptance level is so much greater. When I was younger,
women couldn’t discuss anything; we couldn’t just be ourselves.
When we started the women’s professional tennis tour in 1970,

120
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 V O I C E S
ESSAY

The POWER of
the SISTERHOOD

A TANTALIZING photograph of LITERARY

SUPERSTARS before their ASCENT, including
TONI MORRISON and ALICE WALKER, evokes
the DREAM of ARTISTIC COMMUNITY
Members of the Sisterhood, 1977. Front row, from left: Nana Maynard, Ntozake Shange, and Louise Meriwether.
Back row, from left: Vertamae Smart-Grosvenor, Alice Walker, Audrey Edwards, Toni Morrison, and June Jordan.

122 TEXT BY KAITLYN GREENIDGE B A Z A A R

 T
he first thing I knew about writers was that you could not
trust them in a group. My older sister is a writer. She went
to the University of Iowa for playwriting, and by then, as
a precocious teen, I knew it was where the supposedly best novelists
studied in the fiction program. “Oh, the fiction writers won’t even
talk to us,” my sister told me. “They stay by themselves. And the
way they find out if they are doing badly is by their mailboxes. If
they don’t like your work, they move your space around so everyone
knows it and you lose your funding.”
Was this true? Had she been joking? It didn’t matter. I knew
by then that I, too, desperately wanted to write. It would be embar-
rassing, I thought, having your artistic work reduced to a mailbox
assignment, but it would be a deeper, more troubling thing to
discover you were the type of person who would abide by that
humiliation. If that’s what being in a community of writers was,
I didn’t want any part of it.
I am lucky enough to say that my life as a writer and my
relationship with other writers have been different. I’m part of a
community I can trust implicitly, where I can confess some tender
SCHLESINGER LIBRARY, HARVARD RADCLIFFE INSTITUTE, HARVARD UNIVERSITY
insecurity or just a rant about a book I irrationally envy. But that
kind of jockeying for power, that relentless attention to an imag-
inary pecking order that skims just above actual talent, makes me
wince, gives me the same light-headed feeling that comes from
drinking too much rum.
My former self would think I’m a Pollyanna now because of
the value and support I derive from my fellow writers. A life in
the arts can feel impossible; when you are beginning to reach for
it, it’s easy to convince yourself the only way forward is to go it
alone. The idea of finding others—of being read, that is to say, of
being understood—can feel like an impossible dream, a risk that
would cost too much to take.
For the past few years, a photograph has circulated on social
media of a Black women’s writing group from the 1970s called
the Sisterhood. Pictured are the writers Nana Maynard, Ntozake
Shange, Louise Meriwether, Vertamae Smart-Grosvenor, Alice
Walker, Audrey Edwards, June Jordan, and Toni Morrison—all the
ARTISTS have to ASK themselves, are
they creating for the mainstream?
Or are they CREATING for themselves
and their COMPATRIOTS,
REFUSING TRANSLATION?
current patron saints of literary culture, before they were anointed,
when they were working artists. It has been a source of fascination
for so many: What would it have been like to be read by a fellow
genius? When I see it appear, as it does every few months or so,
it’s a reminder of what it means to work at making culture when
the mainstream literary world does not even recognize you.
The Sisterhood writing group formed as the wave of revolu-
tionary rhetoric and organizing of the ’60s crested into something
else. It came from the “Black power movement and the women’s
movement, out of either the rubble or the structures of both of
those movements,” professor Noliwe Rooks tells me. Rooks is the
chair of the Africana Studies department at Brown University.
0 3 / 2 3 123
Of the members of the Sisterhood, she says, “They weren’t brands,
and they weren’t celebrities.” The group served, Rooks posits, as
a critique of the idea that there could be only one great Black
woman writer in a generation. The Sisterhood insisted on multi-
plicity. A generation earlier, James Baldwin and Richard Wright
had circled each other warily, cognizant of the scrutiny of the
larger white literary world. The Sisterhood, at least at its start,
rejected the myth of the one and only. This is evident in Morrison’s
work as an editor at Random House, where she published works
by Angela Davis and Henry Dumas, and Walker’s promotion of
fellow Black female writers to publications and editors. It’s there
in members’ archived syllabi, where we can see them assigning
one another’s work to their students, long before that work was
considered part of any canon.
Crucially, their writing “wasn’t just about holding white people
accountable,” Rooks points out to me. Artists from marginalized
identities have to ask themselves who their audience is; are they
creating for the mainstream, an incessant plea to be recognized
as fully human? Or are they creating for themselves and their
compatriots, refusing translation, to footnote themselves? The
members of the Sisterhood produced wildly different work across
all genres—literary fiction, memoir, travel writing, food writing,
and poetry—but the one thing that united their outlook was this
refusal to create for that other gaze. First and foremost, they were
experiencing the thrill of creating for one another.
Nowadays, so many of us spend our time trying to shame
white institutions into publishing more of us and paying us more.
The members of the Sisterhood took a different approach. They
imagined an infrastructure that might carry their work on to those
who would actually read and understand it. Creating conferences,
film festivals, and reading groups to discuss their work was as
important as what they did on the page. It was, in fact, imperative
in a wider culture that implicitly didn’t believe Black women
capable of intellectual labor. It was toil that was rarely explicitly
publicly acknowledged. “Black feminists’ practice isn’t always a
public-facing, recognizable work,” explains Autumn Womack,
assistant professor of English and African American studies at
Princeton University. Womack is also the curator of a new exhibition
of Morrison’s papers at the university’s library. The Sisterhood
found immense value in doing the work that was unseen, that
was not immediately published, disseminated, or consumed by
a wider culture intent on misunderstanding it. For me, this feels
especially poignant in a literary landscape where the concept of
“exposure” hovers like a talisman.
I think the photograph remains so powerful because it
represents a fantasy that even its subjects couldn’t maintain for
long. The Sisterhood ceased to convene as a writing group by the
1980s, as its members’ artistic lives changed, though pieces of its
spirit would enliven American literary culture for decades to come.
Now the laughing women in the photograph are icons, their faces
printed across tote bags, the prose they worked so hard to create
excerpted, sampled, cut up, and cited. This is not necessarily a
bad thing, but their sanctification means it’s easy to miss what
these women were to one another: a listening ear, a second reader
who understood the totality of spirit and personhood and history
and empire these women were writing against and about and who
had the respect to give those brilliant ideas an honest edit. HB
 V O I C
THE PEOPLE AND IDEAS SHAPING THE CULTURE
Dancer and choreographer BILL T. JONES
and historian and professor HENRY LOUIS
GATES JR. discuss CONTRIBUTING to—and
PRESERVING—the BLACK cultural LEGACY
H
enry Louis Gates Jr. and Bill T. Jones first met in 1994, when
Gates, then early in his career as a professor at Harvard,
was writing a profile on the dancer and choreographer,
who was at the height of his career. Nearly 30 years later, the two
have remained friends and continue to set—and then exceed—the
pace within artistic and intellectual spaces.
Jones and his partner in life and dance, Arnie Zane, began
performing together in the early 1970s. In 1982, they founded the
Bill T. Jones/Arnie Zane Company, assembling a nontraditional
group of dancers of all ethnicities, sizes, and backgrounds to perform
their groundbreaking works, which rejected the more restrictive
styles of classic modern dance and incorporated film, singing, and
spoken dialogue. Shepherding a new type of postmodern dance,
they commented on topics like identity, censorship, homophobia,
and narratives surrounding the Black male body through raw,
emotive choreography that often saw male dancers performing
sensual duets.
In 1988, Zane died of AIDS-related lymphoma, and the expe-
rience of watching his partner’s suffering inspired Jones to
choreograph his most well-known piece to date, the controversial
Still/Here (1994), which included videotaped interviews with indi-
viduals dying from AIDS and cancer. Throughout his career, Jones
has also collaborated with a number of other companies, including
Alvin Ailey American Dance Theater, and choreographed the
Broadway musicals Spring Awakening (2006) and Fela! (2009), for
which he won Tony awards.
As an award-winning literary critic, historian, scholar, film-
maker, author, and director of Harvard University’s Hutchins
Center for African & African American Research, Gates has
worked tirelessly to expand the study and recognition of Black
literature and culture. In addition to rediscovering some of the
earliest novels by African Americans, he’s written or cowritten
more than 20 books of his own and produced and presented an
astounding 26 documentary films, including 2013’s Emmy-winning
The African Americans. Since 2012, he has hosted the PBS series
Finding Your Roots With Henry Louis Gates, Jr., in which, with
the use of DNA testing, he helps celebrity guests discover—and
face—their ancestral histories.
Jones and Gates recently connected to consider what it means
to build artistic legacies as Black men in America.
HENRY LOUIS GATES JR.: Bill, I know that you were forced to
think about legacy with the passing of Arnie in 1988. One of the
most touching things about your career is the fact that the dance
company was named the Bill T. Jones/Arnie Zane Company.
124 TEXT BY ARIANA MARSH
E S
BILL T. JONES: I think I should first own up to the fact that I am not
a member of the elite art practice in our cultural consciousness.
JONES: BRAD OGBONNA/THE NEW YORK TIMES/REDUX; GATES JR.: MAARTEN DE BOER/CONTOUR BY GETTY IMAGES
Elite art practice would be the ballet or the symphony orchestra.
Arnie and I purposely entered into that world because we were
still living a certain dream of the counterculture, where the status
quo is not your friend. We were homosexuals, and we came onto
the scene just a few years after the Stonewall Uprising. So it was
“Who are you to think you’re going to have a legacy? And what for?
You didn’t come from Martha Graham or Merce Cunningham.”
Everyone was convinced that we were a flash in the pan. By pure
tenacity, we stayed in there, and then history came to our door
when they needed people to talk about the tragedy of HIV and
AIDS.…Our work is taught in universities now, and there are gener-
ations of people who have come behind us who are challenging
or emulating what we did. That is the legacy.
HLG: You said that history knocked on your door, but, Bill, you
knocked on history’s door too. The first time I saw you perform,
I couldn’t believe it. I was struck at how you were defining the
moment of postmodernism with the movements of your body;
I saw you very much in the tradition of dance but at a seminal
moment when you were redefining it in your own image.…I have a
PhD in English literature from the University of Cambridge. But
I didn’t want to write about Shakespeare or Milton. I wanted to be
part of a generation that would institutionalize the study of people
of color, more specifically people of African descent. Something
that’s characterized my administration at Harvard, building the
African and African American Studies department, is that if the
best candidate is white, if the best candidate is Asian, we’re going
to hire the white candidate or the Asian candidate. You don’t have
to be Black to be an expert on the African American experience.
It is just like every other academic field.
BTJ: I don’t think an artist’s credibility rides on their understanding
of history. Those criteria of what you call excellence were the
headwinds that Arnie and I ran against. People would ask, “Why
is this person on the stage at the Kennedy Center? Is this liberal
guilt?” So there’s a distinction there when we talk about excellence.
HLG: Many of the greatest scholars of what we now call African
American studies had to write their PhD dissertations on a white
author or a white subject because it was thought that a Black subject
wasn’t worthy in allowing potential scholars to demonstrate that
they had mastery of their field. I wrote one of my first books, The
Signifying Monkey, which is about the Black vernacular tradition,
when I came up for tenure at Yale, and I didn’t get tenure. People
said, “This stuff is not literature; he’s not ready.” I had taught at
Yale nine years. It broke my heart, but I left. Still, I wouldn’t do ➤
B A Z A A R
 Far left: Bill T.
Jones at his New
York studio in 2018.
Near left: Henry
Louis Gates Jr. at
the Beverly Hilton
hotel in 2016.

“I wanted to have the ABILITY to be “Some people will hail you as a GENIUS.
as FREE as JAMES JOYCE. And Some people will hail you as being the
yet, by the same token, I wanted to be OPPOSITE. And that’s when you have to
PRIZED for my INTELLECTUAL be sustained by SELF-LOVE that you’ve
UNDERSTANDING.” taken from the PEOPLE who LOVE you.”
BILL T. JONES HENRY LOUIS GATES JR.
 V O I C
IN CONVERSATION
it any other way. You have to stand up for your principles. I love
the Black tradition because I know how rich and vibrant it is. Our
people created one of the world’s greatest cultures collectively on
the sub-Saharan African continent and in the New World. And
the academic establishment traduced it, mocked it, minimized it.
But my generation of scholars was able to have an institutional
presence in the American Academy. So my goal’s been to defend
the culture itself from racists and show, using rigorous method-
ology, that it is just as sophisticated as any culture in the world.
BTJ: I see why you’re the man for the job there at Harvard.…The
famous No Manifesto [1965] of dancer and choreographer Yvonne
Rainer, who was the great architect of the postmodern, finished
a series of essays with her manifesto, which [says] things like no
to moving or being moved, no to audience manipulation, no to
virtuosity, no to charisma. A whole generation of people thought,
“Wow, that means that she’s saying yes to everything else.” The
avant-garde taught us that there was no longer a criteria, but now
we’re once again back to this idea of excellence. Can you be a leader
in the development of a culture and not have those foundations?
Can Jackson Pollock be allowed to throw that paint if he cannot
paint like Leonardo da Vinci? Yes, he can. So as we’re talking one
Black man to another, do we as Blacks have to be conservative?
That’s what I was told. Don’t get out there and embarrass us. But
the white kids can get out there and take a crap on the floor and
it’s a profound gesture. I wanted to have the ability to be as free
Bill T. Jones and Arnie Zane in 1984
E S
as James Joyce. And yet, by the same token, I wanted to be prized
for my intellectual understanding. Do you have any feeling about
the white avant-garde and the authentic Black self ?
HLG: You can’t write a sentence unless you know the ABCs of the
syntactical structure in English. You need to learn the ABCs of
your profession. And then beyond that, if you’re going to bend a
tradition, step outside of a tradition, you need to know the tradition
you’re bending or stepping outside of. You didn’t just drop down
from the moon. You had studied the history of dance. You knew
what would work, what you could take from that history, and what
didn’t work and how you wanted to step around it. Miles Davis
comes out of a tradition of playing the trumpet.
BTJ: Yeah, but he was a classically trained musician, wasn’t he?
HLG: Yes, he went to Juilliard. And you’re classically trained. He had
two traditions that he had to master: the tradition of his classical
training and the tradition of the jazz trumpet. And he took those two
and braided them and produced his own version. But the point of
genius is that you take that training, you imbibe the traditions, the
logic, and then you step inside of it to redefine it. Some people will
hail you as a genius. Some people will hail you as being the opposite.
And that’s when you have to be sustained by self-love that you’ve
taken from the people who love you. You have to be able to look
JACK MITCHELL/GETTY IMAGES
in the mirror and say, “I know that I’m right, and I’m ahead of the
curve. The world will catch up with me sooner or later.” And that’s
certainly the case with you.…One of the reasons I think the most
sublime achievements in African and African American culture
traditionally have been vernacular forms is that Black people didn’t
care what white people thought. When they were inventing ragtime
or jazz or the classic blues, they didn’t do it for a white audience.
BTJ: Sometimes Black people can be oppressively conventional in
what they think is most high and most beautiful. Young avant-garde
white kids run out there, get hit by traffic oftentimes, but they feel
they have the right to do it unfettered. It’s more difficult to be a
Black person running out there in the traffic of culture with them.
HLG: You are absolutely right that, traditionally, Black culture has
been conservative. And it was conservative because of fear of
acceptance or ridicule, right? But the element of Black culture
makers who weren’t conservative was real people who were just
inventing the culture that they loved in juke joints and drawing
on the traditions in which they were working.
BTJ: Do you think that speaking about race as two Black intellec-
tuals is something that we are programmed to do at this point?
HLG: That’s the burden of representation. When is Bill T. Jones an
individual? When is he Black? When does your responsibility to
your own integrity start and stop in a heavily burdened political
context? Are you completely free of the white gaze? Is that ever
possible? And I would say it’s more possible for us today than
it’s ever been for Black people in North America. And as long
as the overwhelming number of the people in prison are Black,
as long as the amount of wealth that our people have accrued is
so sadly small, then, yeah, we still have obligations to the African
American community. But our responsibility is not to allow the
community to confine the contours of our imagination. That is
very important for us to always remember. HB
B A Z A A R
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EDITED BY ALISON S. COHN

She’s Bringing SEXY BACK

TORY BURCH: COURTESY TORY BURCH; HERMÈS: FILIPPO FIOR/COURTESY HERMÈS; MARYAM NASSIR ZADEH: MADISON VOELKEL; SIMONE ROCHA: COURTESY SIMONE ROCHA; ESTER MANAS: ETIENNE TORDOIR

For SPRING 2023, clothes are suddenly

REVEALING, TIGHT, and PLUNGING. But what’s
unique about this new SENSUAL MOOD is that
FEMALE DESIGNERS are LEADING the charge.
Center: Vittoria Ceretti and Emily Ratajkowski backstage at Tory Burch. Runway, clockwise
from lower left: Maryam Nassir Zadeh, Hermès, Simone Rocha, Ester Manas.

128 TEXT BY RACHEL TASHJIAN B A Z A A R

 LAST SUMMER, getting dressed ceased
to mean putting on clothes. All around
New York, I saw the crests where bums
meet thighs, nipples beneath transparent
shirts, bellies bared in meetings. Personally,
I started wearing beach cover-ups to run
errands and stuffed the slips that came with
my sheer, diaphanous dresses and skirts into
the back of my closet, charging outside in
see-through clothes with no compunction.
It was in part because it was so damn hot
but also because I had this exotic but urgent
feeling that I just didn’t care what anyone
looking at me thought.
PIERO BIASION/XINHUA NEWS AGENCY VIA GETTY IMAGES; GIOVANNI GIANNONI/WWD/PENSKE MEDIA VIA GETTY IMAGES
HERMÈS: ESTHER THEAKER/COURTESY HERMÈS; ESTER MANAS: ETIENNE TORDOIR; COMME DES GARÇONS, FROM LEFT:
The designer Maryam Nassirzadeh
noticed several of her fellow New Yorkers
dressing this way, including herself; she
often shares outfit pics of sheer clothes over
bikini bottoms or no bra with her highly
engaged Instagram followers. The attitude
inspired her own New York Fashion Week
show in September, which showcased
her treasured collection of fabric scraps
pieced together over models’ otherwise
nude bodies. Some of the textiles were
barely big enough to cover a single
breast; she thought of them like gems or
shells adorning the body. “Is this enough?”
she recalls thinking. “But then I thought,
there’s something sensual and ethereal and
meaningful in the sense of, like, [each textile]
has an essence and an aura.”
The next day, Tory Burch’s models were
more covered up but no less exposed. Her
opening look was a sheer white elbow-length
shirt revealing a gray bra beneath and a
ruched darker gray miniskirt squeezed over
a sheer black skirt. Much of the collection
was similarly layered, with abs, cleavage, and
shoulders revealed by fabric that had been
wrapped or gathered, or in conservative
cuts made sensual with see-through cloth.
By the end of Fashion Month, sexy
clothes had emerged as designers’ big
message, including at Simone Rocha in
London and Hermès in Paris. It wasn’t a
revolt against men’s diktats about how women
should dress, nor merely a comeback of sultry
stuff after a decade of oversize silhouettes.
With female designers leading this change,
it marks one of the most declarative shifts
in clothing since before the pandemic. It’s a
reframing of what’s appealing and to whom
as well as in how we think about our own
bodies and relate to one another’s.
“We’re always a bit kind of embarrassed
to say ‘sexy,’ ” reflects Hermès women’s artis-
0 3 / 2 3 129
From top: Hermès, Ester Manas,
Comme des Garçons
tic director Nadège Vanhée-Cybulski. “It’s
degrading. What about women’s liberation?”
But she always tells her team, “We are—you
are—the new generation of designers, and
things have shifted. We need to give a new
translation of what is sexy.”
W hat is startling about the new prepon-
derance of skin and undress is that
we don’t live in some utopia where women
can bare their bodies and feel completely
accepted or unthreatened. Women’s bodies
are under siege all over the world through
the erosion of abortion rights in the United
States and religious and political restric-
tions globally.
For the designers who are proposing a
new vision of sensuality, it’s not just about
the reveal; it’s about giving the wearer the
agency to control just how much or how
little. Like Burch, a number of designers
took a modular approach to showing skin,
offering flexible or adjustable pieces that
a woman can manipulate to highlight
what she feels are her own best assets.
Women don’t want to be given rules
about what to wear, Burch says. “They
want to be empowered. And I think to
have your own personal style around that,
and accentuate your body in any shape or
form, is an amazing thing.”
Rocha tells me that she thought of the
exposed flesh in her new collection as “bites,”
where the heaps of fabric pull apart so “that
you could see little layers of skin.” This is
something she has always done, but she
exaggerated it for Spring 2023 with zips that
give the clothes an “ergonomic uniformity.”
And “it felt right this season to really expose
that in this more provocative way.”
Certainly, the fact that the pandemic
reoriented our relationships to our physical-
ity and its place in the world has influenced
this shift. We spent months in confined
spaces, wearing soft clothes and seeing
few others because a virus made groups
of bodies a threat. Reentering public space
has been overwhelming; it’s made us rethink
how to exhibit our corporeality. “There was
this moment when we had to reassess the
body,” says Vanhée-Cybulski, “and find
and reconnect the body with its senses.”
Her collection for Hermès was unusually
physical: cords wrapped around bare
stomachs and sleeveless tops showing off
clavicles and ribs. Vanhée-Cybulski says the
length and the restrictiveness of pandemic ➤
 N E
lockdowns meant that the feelings of running
and moving and being together—feeling the
breeze against yourself and the sweat and
your own skin against other people’s as you
hug or dance beside them—all suddenly felt
new and even more intense. “For me, clothes
are a site of intimacy,” she says, but also a
kind of “public interface.” As leather apron
dresses and whipstitched suede minishifts
came down her runway, one couldn’t help
but think of how those smooth and soft
materials would feel against the skin.
“You wear something, and it makes you
feel a certain way,” she muses. “And that will
trigger the desire or the need to connect or
not to connect with people outside.”
Designers are also thinking about how
fabric clings to the body. Ester Manas, the
French designer who, along with her Belgian
design partner, Balthazar Delepierre, has
become a leader in size-inclusive high fash-
ion, uses stretchy mesh fabrics like ruched
translucent polyester and nylon, which
enable the fit of her pieces to be highly
adjustable and tight, though comfortably
so. Her garments, like a lavender ribbed
knit dress with buttons that can be undone
to reveal thighs or closed to make sexy
keyholes, can be worn several ways but
essentially reveal the limbs underneath.
“The pieces are really fluid,” says Delepierre,
“so you can really play.” (They are generally
one-size-fits-all, which means up to a U.S.
18 or 20, the designers say.)
“There are a lot of different girls with
different desires and needs,” says Manas.
Maybe someone wants to wear a bikini
under a see-through dress, while another
wants to be more covered up. Manas and
Delepierre see their work as a “celebra-
tion of the flesh.”
W hen a woman designs clothes
for other women, she often does
so from a place of empathy. “There is a
familiarity,” Vanhée-Cybulski says. “I don’t
think the question of gender [determines]
whether or not you are capable of design-
ing for women,” but, she continues, “you
think about your curves, you think about
your breasts, you think about your cycles.”
It’s about going through puberty, through
menopause—the continued metamorphosis
of the human body and how that might
130
W S
FASHION AND CULTURE
determine what clothes might feel good.
It’s this fundamental connection to the
body—and not just the female body but the
human form—that often makes a woman
designer’s work distinct. Part of what makes
Rocha’s clothing so powerful is her respect
for feminine pleasures like bows, rhinestones,
and pink, but she uses shapes that never feel
fussy; instead of feeling decorative, they
feel vigorous and essential. “I think of the
skin, and I think of the blood pumping
beneath the skin,” Rocha says. “I think of it
in a way where it’s almost short of breath.
There’s an urgency to it.”
MARYAM NASSIR ZADEH: MADISON VOELKEL; SIMONE ROCHA: COURTESY SIMONE ROCHA
Indeed, this moment seems much
more about intimate and personal feelings
triumphing over shared values, emotions, or
judgments. Even at Comme des Garçons,
one of Rei Kawakubo’s models waddled
down the runway in an enormous bonnet,
then turned to reveal an obscured miniskirt.
As Rocha puts it, “It’s more than someone
looking. It’s more about yourself: what you
want to reveal. The way that provocativeness
and sexiness appeals to me is that you’re in
touch with yourself. So there’s a power to it.”
Perhaps this emphasis on the individual
and her body to the exclusion of anyone else
is the big fashion change that the pandemic
wrought. If people take issue with what you’re
wearing, the thinking seems to be, that’s their
problem. What your clothes project to others
doesn’t really matter, and what others make
of what you wear couldn’t be less relevant. It
almost seems as if we are no longer meant
to perceive one another at all. What is
beneath the Zoom screen frame has
become incredibly personal, private.
So where is all this going? Vanhée-
Cybulski thinks that it all presages the
dystopia to come—that the encroachment
of technology upon our lives and on our
physical selves has led to “this romantic
surge of expressing humanity.” In the face
of human microchip implants and artificial
intelligence replacing us in the workplace,
we reveal our arms, our legs, our midriffs,
our flesh in an outcry of physicality, as if to
say to ourselves, “Remember, what makes
me exceptional is that I am human.”
But for now: “We have our own armor
where we have the strength to own it,”
From top: Maryam Nassir Zadeh, Nassirzadeh says. “This is what I want to
Simone Rocha wear. And I’m able to stand for it.” HB
B A Z A A R
 N E
FFORME “It’s not fashion
but foundations,” says Fforme
© PALAIS MUSÉES/PALAIS GALLIERA, PARIS; ARTWORK: WORK IN PROGRESS BY SARAH SZE, 2022, © SARAH SZE, PHOTO COURTESY SARAH SZE STUDIO; BOOKS: COURTESY THE PUBLISHERS
creative director Paul Helbers
of the new architecture-
FFORME EDITION 02 COLLECTION LOOKS: CHRISTOPHE BERLET; BAG: COURTESY ETRO; EXHIBITION IMAGES, FROM TOP, THIERRY MUGLER “FLY” GLASSES, COUTURE SPRING 1997:
inspired label he launched with
industry vet Laura Vazquez and
tech entrepreneur Nina Khosla
during New York Fashion
Week this past September.
Helbers—an alum of Louis
Vuitton, Maison Margiela, and
the Row—has created a perfect
capsule wardrobe of modular
layering pieces, like elongated
oversize T-shirt dresses, ankle
pants, sheer ribbed turtle-
necks, and knit corsets, in a
mostly black-and-white color
palette, with subtle washes of
pastels. “You could also say the
FF stands for ‘female form,’ ”
Helbers says, “because that’s
really what we celebrate.”
PINEAPPLE STREET,
BY JENNY JACKSON
Jackson’s debut follows three
women who were born or
married into an affluent New
York family. Darley, the eldest
of the three Stockton children,
trades in her career and inher-
itance for motherhood, while
Georgiana, the hard-partying
youngest, works at a nonprofit and is having
an affair with her married boss. Sasha, the wife
of middle child Cord, feels like an outsider due
to her middle-class upbringing. As the narrative
unfolds, they each face tough questions about
money and morality. (Pamela Dorman Books)
0 3 / 2 3 TEXT BY ALISON S. COHN AND ARIANA MARSH
W S
FASHION AND CULTURE
ETRO LOVE TROTTER Marco
di Vincenzo’s debut collection for the
Italian house pays tribute to its roots as
a textiles company and features top-
handle bags made with upcycled jacquard
fabrics and recycled plastic hardware.
Above left: Etro Love Trotter bag, $1,690;
etro.com. Top right: Thierry Mugler Haute
Couture sunglasses, Spring 1997.
REGARDING INGRES,
EDITED BY
DARIN STRAUSS
As an homage to the portrait
of Comtesse d’Haussonville
(1845) by ar tist Jean-
August-Dominique Ingres,
one of its most famous
paintings, New York’s Frick
Collection asked 14 writ-
ers to craft fictional narratives about the work’s
subject, French countess and writer Louise de
Broglie. The resulting texts here range from ghost
stories to epic sagas in which imagined versions of
Broglie travel through time and space and across
continents and cultures. (Rizzoli Electa)
“1997: FASHION BIG BANG”
Opening March 7 at Paris’s
Palais Galliera, the exhibition
surveys a watershed year that
saw Thierry Mugler’s and Jean
Paul Gaultier’s couture debuts
and the arrivals of Alexander
McQueen at Givenchy and
John Galliano at Dior.
“SARAH SZE: TIMELAPSE”
Installed throughout both
the inside and outside of New
York’s Guggenheim Museum,
Sze’s site-specific cycle of
works, unveiled March 31, will
serve as a meditation on the
ways we mark and experience
the passage of time.
WALKING PRACTICE,
BY DOLKI MIN
Translated from Korean, Min’s
psychological thriller examines
survival in the face of margin-
alization through the lens of an
alien whose spaceship crashes
to Earth. Incapacitated by grav-
ity, the alien must relearn how to
walk and has to sustain itself by
shifting its gender, appearance, and behavior to
attract, have sex with, and then eat humans. After
failing to catch its prey one night, the alien begins
to reckon with the aspects of human life—like social
constructs and people’s physical limitations—that
make it so challenging. (HarperVia) HB
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 N E W S
FASHION AND CULTURE

BUILDING the FUTURE

In honor of INTERNATIONAL WOMEN’S DAY, HEARST is partnering with New York’s WHITNEY
MUSEUM OF AMERICAN ART on “THE ART OF MOVING FORWARD” to amplify the VOICES
of WOMEN ARTISTS. All artists selected a work of their own that speaks to the title of the initiative,
including GABRIELA SALAZAR, whose installations explore the FRAGILITY of the BUILT WORLD.

CLOCKWISE FROM TOP LEFT: SEBASTIAN BACH; MAX ROSE BELL; COURTESY GABRIELA SALAZAR (2)
Clockwise from far left: Gabriela Salazar’s Reclamation
(and Place, Puerto Rico), 2022; Salazar installing her
work; shaping coffee clay pavers; pavers drying

GABRIELA SALAZAR’S creative practice
examines built space and material instability.
The New York artist’s architectural installa-
tions have included casts of her apartment’s
windows fashioned from water-soluble
paper and a tarp-covered sanctuary space
made from disintegrating, coffee-based clay
blocks. An awareness of the climate crisis—
and the steps we need to take to combat
it as we look to the future—is a subtext of
much of her work. “It’s sculpture that is
vulnerable and fragile and more permeable
to the world, like we are,” she explains.
Salazar, whose parents are from
Puerto Rico, explored this theme further
in Reclamation (and Place, Puerto Rico),
the site-specific work she created for the
Whitney’s new survey “no existe un mundo
poshuracán: Puerto Rican Art in the Wake of
Hurricane Maria.” She returned to coffee as
one of her core materials, creating hexagonal
pavers from a blend of flour, salt, and grounds
donated by the local chain 787 Coffee, which
uses single-source Puerto Rican beans.
The piece also incorporates 15-foot wooden
racks that resemble the stilt houses in San
Juan’s El Fanguito neighborhood and steel
structures that recall New York’s subway
grates. “Both Puerto Rico and Manhattan are
islands with a vulnerability to water,” Salazar
says. But the consciousness of that threat,
she offers, can be a galvanizing force: “We all
have a role to play in making the conversa-
tion about climate change more broad but
also creating that sense of community and
feeling like you’re part of a movement.” HB
This program is being presented in partnership with Johnnie Walker, which has awarded more
than $1 million in grants to women-owned businesses and is helping women overcome historical
barriers by showcasing stories of their progress.

132 TEXT BY ALISON S. COHN B A Z A A R

 E S C A P E
THE EYE HAS TO TRAVEL

Living HISTORY
A 19th-century FORTRESS, a James Bond
SET, or Yves Saint Laurent’s MOROCCAN
VILLA makes for a vacation to remember

2A
STEFAN GIFTTHALER; ANNIE SCHLECHTER; COURTESY RAFFLES
FROM TOP: TESSA TRAEGER; PHOTOGRAPHY AMIT GERON;
 R
estoring a landmark space is often more challenging—and
expensive—than building new. For entrepreneur Heather
Reisman and her husband, Gerry Schwartz, transforming
one of Tel Aviv’s signature white Bauhaus buildings on famed
Rothschild Boulevard into the R48 Hotel and Garden was a passion
project that spared no expense. Featuring just 11 suites curated by
Studio Liaigre, it also has green spaces conceived by Dutch garden
3 maestro Piet Oudolf, who oversaw New York City’s High Line.
Staying in a hotel steeped in history, though, adds another

dimension; it lends a seductive layer of complexity and character

LONDON AT THE OWO; COURTESY DESIGN HOTELS

to the experience. Some of the most talked-about new properties

From top: The grounds
and pool at Villa
across the globe are located within reinvented landmarks, from
Mabrouka in Tangier, the just-opened Six Senses Rome in a 15th-century palazzo to
Morocco; the exterior Raffles London at the OWO, debuting this spring within the
of the R48 Hotel and
Garden in Tel Aviv; the
city’s neo-baroque Old War Office, which has played host to
gardens and grounds Winston Churchill and James Bond.
at Passalacqua in Passalacqua on Lake Como in Moltrasio, Italy, is a highly
Moltrasio, Italy; Lobby
Bar at the Hotel
sought-after reservation for good reason. The waterside resort
Chelsea in New York; is centered on an 18th-century villa originally owned by Italian
Raffles London at the nobility. Reimagined by the owners of the art-nouveau Grand
OWO; Mamula Island in
Boka Bay, Montenegro
Hotel Tremezzo, it now looks like the set of a Wes Anderson film
in the best way. The property includes 24 rooms and suites, several
with original frescoes, a vintage Fiat 500 turned buggy painted
the psychedelic orange of an Aperol spritz, and a pool and bar
area done up in vivid prints designed by La DoubleJ’s J.J. Martin.
When Villa Mabrouka opens in Tangier, Morocco, this spring,
guests at this 1940s estate will be able to dine and sleep in the
former private residence of Yves Saint Laurent and his partner,
Pierre Bergé. Surrounded by lush citrus trees and bougainvillea
by landscape designer Madison Cox, the retreat has been labori-
ously renovated by British designer Jasper Conran to carry on
the site’s fashionable legacy.
1A 2 Mamula Island, which opens this spring, will draw visitors
to the small Balkan country of Montenegro. A former 19th-century
fortress in the picturesque Boka Bay, it has been pristinely restored
as a 32-room hotel with a glass-roofed courtyard, a spa, three
restaurants, three outdoor pools, and a private beach.
It was a risk when New York City hotelier Sean MacPherson
took over the renovation of the legendary art-filled Hotel Chelsea,
whose notable residents have included everyone from Dylan Thomas
to Patti Smith. (The hotel has slowly been rolling out carefully
3A 4 refurbished rooms over the past year; this spring it will launch a
second restaurant and a spa.) MacPherson says all the investment
has been worth it. He notes, “I’m humbled to be a steward of such
an important international cultural landmark.” HB

0 3 / 2 3 TEXT BY GISELA WILLIAMS 133

 B E A U T Y
THE ART AND SCIENCE OF LOOKING AND FEELING YOUR BEST

The NEW ’90s

Kate Moss, photographed by
David Sims for the July 1997
issue of Harper’s Bazaar
DAVID SIMS/ART PARTNER

Welcome (BACK) to the ERA of BROWN LIPS, DEWY SKIN,

GRUNGE LINER, and SHAGGY CUTS. Here, why SPRING’S
biggest BEAUTY LOOKS take a page from the DECADE of the
SUPERMODEL—and how to make the trends FEEL MODERN.
0 3 / 2 3 TEXT BY TIA WILLIAMS 135
 B E A U
THE NEW ’90S
From left: Linda Evangelista, Christy Turlington, and Naomi Campbell at the CFDA Awards in 1994; Kevyn Aucoin and Campbell backstage in 1996; Winona Ryder
and Gwyneth Paltrow at the Golden Globes in 1998; John Kennedy Jr. and Carolyn Bessette in 1994; Jennifer Aniston as Rachel Green in 1994
AT THE SPRING 2023 RUNWAY SHOWS, models’ faces were a
minimalist blur of velvety taupe, beige, and brown—spiked with
smudgy eyeliner—that conjured the Supers (Christy, Kate, Cindy,
Linda, Naomi) and made it official: The ’90s are back.
As a young Gen Xer who came of age during that decade,
I’m conflicted. When did my past become vintage? Vintage is
a poodle skirt, hippie fringe, disco dazzle. Our ’90s-era aesthetic
was raw and real, a modernist eff-you to ’80s excess. We were
too cool to become nostalgia fodder. However, as someone who
also persuaded my high school pom squad to swap our red lip
color for nut brown, who smelled like teen spirit, yes, but also
CK One and the vanilla-scented M.A.C lipsticks I ordered from
an 800 number—and who, by the decade’s end, was reporting
on trends as a beauty editor—I applaud it. Nineties beauty nostal-
gia feeds my soul.
As with any retro revival, though, it’s about adapting the looks
for today, lest you look like a relic. So, in search of the best ways
to modernize ’90s trends, I consulted the architects of some of
the era’s most iconic moments.
THE SKIN At Dior, Jason Wu, Fendi, and Chanel, the runway
beauty vibe for spring was clean and slightly dewy—an updated
version of the complexions at Calvin Klein’s era-defining Fall
’93 show, where legendary makeup artist Dick Page staged a
fresh-faced revolution.
“It was Kate Moss’s second season walking for Calvin, and
the look got quite a backlash from the beauty industry,” recalls
Page. “The general sentiment was, did you really send models
out with no mascara?” He did, in fact, and the models wore little
more than Vaseline on their eyelids, cheeks, and nose. “The ‘not
caring’ felt different,” he says. “Less sportif.”
“There is something ENGAGING and HONEST about a face that DOESN’T
HAVE a TON ON IT,” says Dick Page. “At early HELMUT LANG shows,
I’d just rub a bit of murky PURPLE, BROWN, or GRAY around the EYES.”
136
T Y
ROSE HARTMAN/GETTY IMAGES; NBCU PHOTO BANK/NBCUNIVERSAL VIA GETTY IMAGES
MITCHELL GERBER/CORBIS/VCG VIA GETTY IMAGES; JEFF KRAVITZ/FILMMAGIC;
FROM LEFT: PATRICK McMULLAN/PATRICK McMULLAN VIA GETTY IMAGES;
If going bare feels a bit too natural for you, makeup artist
Bobbi Brown, whose eponymous makeup collection was a ’90s
staple (and who now helms clean-beauty brand Jones Road),
suggests applying a sheer foundation. “With a shade that truly
matches your skin, it can look like you’re wearing no founda-
tion at all,” she suggests, adding that a bit of bronzer will warm
the skin in a way that feels more 2023. “It creates the healthy,
athletic look that Cindy Crawford owned back then—and still
does today.”
THE BROW While skin was natural in the ’90s, brows were
decidedly not. “I remember Kevyn [Aucoin] backstage using
a mechanized tweezer that pulled out several hairs at a time,”
says makeup artist Troy Surratt, founder of Surratt Beauty and
a protégé of Aucoin’s. “He tweezed out Cindy Crawford’s brows,
and her agent was furious. But then, almost overnight, she got
even more bookings.”
On the Spring 2023 runways, barely there brows were de
rigueur once again. At Vivienne Westwood, they were drawn
pencil thin; at Victoria Beckham, Roberto Cavalli, and Marc
Jacobs, they were bleached. Surratt cautions, however, against
overzealous tweezing. I agree—and I would know. In an attempt to
channel Madonna’s Bedtime Stories–era arches, I once tweezed
my brows into oblivion. At the time, I thought I looked chic (if
a tad startled), but my brows never completely grew back. So,
if you’re aiming to emulate the anemic arches of Alexa Demie,
Bella Hadid, or Jodie Turner-Smith, proceed with caution. Try
using a touch of concealer to feign sparse brows—or fill them
in with a sharp pencil rather than powder to create a thinner,
more refined look. Just be conservative, says Surratt. “You don’t
want apostrophe arches.”
B A Z A A R
 THE EYES One of the most universally flattering ’90s trends
was soft, coffee-toned eye shadow—and it made a welcome
reappearance on spring runways at Altuzarra, Ralph Lauren, and
Proenza Schouler. As a senior in high school in 1992, I saw Naomi
Campbell on Harper’s Bazaar’s June cover, and I was mesmer-
ized by her soft, burnished shadow, my first look at neutrals on
a model with my skin tone.
“Black women wearing nude? Browns around the eyes? It was
the first time we really saw us without bold color,” says celebrity
makeup artist Sam Fine, who created Campbell’s groundbreaking
look for the issue.
Page agrees that less can sometimes be more, adding, “There
is something engaging and honest about a face that doesn’t have
a ton on it. At the early Helmut Lang shows, I’d just rub a bit of
murky purple, brown, or gray around the eyes.”
© LAUNCHMETRICS/SPOTLIGHT; PROENZA SCHOULER RUNWAY: ARTURO HOLMES/GETTY IMAGES; LIP-COLOR AND
CHANEL RUNWAY: VICTOR VIRGILE/GAMMA-RAPHO VIA GETTY IMAGES; DIOR AND ALTUZARRA BACKSTAGE:
Of course, the counter to the soft, neutral eye was heavy
EYE-PENCIL SWATCHES: JEFFREY WESTBROOK/STUDIO D; ALL OTHER STILL LIFE: COURTESY THE BRANDS
liner—part of grunge’s gritty foil to the era’s polished minimalism.
At the recent Dior and Moschino shows, the eyes echoed Gucci’s
seminal sooty-eyed Fall 1995 show. “Back then, for editorial, we’d
line eyes in black, pat [Elizabeth Arden] Eight Hour Cream around
it, ask the model to squint, then finger-smudge,” recalls Surratt.
Today, TikTok influencers achieve a similar smudgy effect
by applying liner, then splashing their faces with water. Prefer a
cleaner finish? Brown says to line your eyes with a chocolate
powder shadow, then use a small, firm brush to diffuse the color.
THE LIPS On my deathbed, I’ll be raving about Winona Ryder’s and
Gwyneth Paltrow’s bare-faced, bold-lipped looks. It was lipstick
as a supremely chic afterthought—a wine or coffee shade hastily
applied in a cab. This season, the Row and Chanel took note.
“The ’80s were so neon and cool with pinks, magenta, and
lilac, so in the ’90s we swung in the other direction with brown,
rust, and beige,” says Surratt, who suggests reviving the trend
by losing the matte finish and topping your favorite pink or berry
lip color with a creamy beige lipstick, like Dior Rouge Dior Lipstick
in Beige Couture, to neutralize the brightness.
From upper left: Reddish-brown lips at Chanel’s Spring 2023 show; Chanel Rouge Allure Velvet in Mystérieuse, $45; Dior Rouge Dior Lipstick in
Beige Couture, $42; heavy liner at Dior’s Spring 2023 show; M.A.C Eye Shadow in Espresso, $21; clean, dewy skin at Altuzarra’s Spring 2023
show; Lawless Shape Up Soft Fill Brow Pencil, $21; sparse brows at Proenza Schouler’s Spring 2023 show; Jones Road What the Foundation, $44
5
43A
0 3 / 2 3
THE HAIR Models at Sandy Liang channeled Carolyn Bessette—
no surprise since everyone once coveted her buttery blowout,
and even iconic brunettes like Christy Turlington and Yasmeen
Ghauri visited her colorist Brad Johns to lighten up.
“In 1991, Christy Turlington had virgin hair,” recalls Johns.
“I gave her subtle blond chunks on the top and sides, and then
everyone wanted to go lighter. This sunny kid-on-the-beach look
works for everyone, and it’s a welcome return, since the last 10
years have been a bleached-out, ashy bore.” To add healthy
shine, Johns suggests Davines’s This Is a Shimmering Mist ($36).
No ’90s hair conversation is complete, however, without
discussing the new multilayered cuts inspired by the Rachel,
the iconic shag snipped by Chris McMillan and popularized by
Jennifer Aniston in Friends. The 2023 iteration tends to be less
polished, and it’s been coined the “wolf cut” by TikTok. It’s also
been spotted on A-listers like Jenna Ortega and Miley Cyrus. The
revival may be due partially to younger generations discovering
Friends, but it’s also about finger-tousled ease. “We got back to
the Rachel through the popularity of the lob [a long bob], which
uses the same square layers,” says Hair Rules founder Dickey,
a celebrity stylist who crafted layered looks for Veronica Webb
in the ’90s. “It’s a Cut with a capital C.”
All of this raises one question, though: I know I’m drawn
to the era because of the nostalgia it evokes, but why would
younger generations who weren’t born yet want to emulate it?
My 14-year-old daughter, Lina (who’s perfected Kate Moss’s
party-girl eyeliner and her Croydon accent—don’t ask), sums
up their interest in the era this way: “We romanticize the past
because everything seemed cooler then. More real.”
Page thinks so too. “In the ’90s, you’d do your makeup before
the club, and it was the last time you saw your face for the night,
unless you caught it in bad lighting in the loo,” he says. “Someone
might have a camera, but it wasn’t you. Today, with social media,
every night out is a documentary. As such, it devalues beauty.
If every night’s special, nothing’s special. There was freedom
during the ’90s in not caring as much.” HB
2
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 B E A U
INSPIRATION BOARD
Zoë Kravitz
1. 2.
3.
4.
5.
The ACTRESS and YSL BEAUTY AMBASSADOR reveals her SPRING LIP
COLOR, her trick for a GOOD PHOTO, and HER MOM’S BEST MAKEUP TIP
MOVING BEHIND THE CAMERA It’s crazy that after working in the film
industry for more than a decade, I still knew so little about what goes into
making a film. [Kravitz’s directorial debut, Pussy Island, is expected to be
released this year.] But I’ve been lucky to work with exceptional directors,
like Jean-Marc Vallée, Matt Reeves, and Steven Soderbergh, and I’ve
gotten incredible advice from them.
CREATING A MOOD I like the coffee and vanilla in YSL Beauty Black
Opium Le Parfum (5; $149); it makes me feel confident.
DRESSING THE PART When I put on a character’s costume and get the
right hair and makeup, it changes the way I feel, walk, and move. I’ll also
often take home some of the character’s clothes to wear so I can get in
the zone. When I played Rob in High Fidelity (3), I wore tons of Hawaiian
shirts (4; $128, tombolocompany.com).
PAINTING A PICTURE Makeup can help tell a character’s story. I love what
we did with Selina’s makeup for The Batman. [Makeup artist] Pat McGrath
designed that look and had the idea to smudge sparkles from her
140 AS TOLD TO KATIE INTNER
T Y
9.
CENTER PORTRAIT: COURTESY YSL BEAUTY; INSET PHOTOS, CLOCKWISE FROM TOP LEFT: PHILLIP CARUSO/HULU;
STEVE GRANITZ/WIREIMAGE; MIKE COPPOLA/GETTY IMAGES; STILL LIFE: COURTESY THE BRANDS
7.
6.
Mothership I: Subliminal palette (9; $128) under Selina’s eyes to suggest
she was so busy, she always slept in her makeup.
LIGHTENING UP I tend to wear a lot of black because it’s easy, and in the
winter I like to pair it with a red lip (6). Come spring, though, I love a nude
lip, like YSL Beauty the Bold Lipstick in Brazen Nude (8; $39).
LISTENING TO MOM My mother [actress Lisa Bonet, 7, with Zoë’s father,
Lenny Kravitz] always said beauty comes from within and to just use
makeup to highlight the things you love about yourself.
CAMOUFLAGING FATIGUE YSL Beauty Touche Éclat All-Over Brightening
Pen (2; $38) is a godsend for making you look awake instantly, so I always
carry one in my purse. Similarly, if I’m feeling puffy or have had a few
glasses of wine on a plane, I’ll ice my face, then spritz it with Caudalíe
Beauty Elixir (1; $20). The smell is amazing.
GETTING CAMERA-READY I don’t always feel like being photographed,
and I have to get in the mood. So I try to relax, take a deep breath, and
think of someone I love. HB
B A Z A A R
 B E A U T Y
MEET THE MAKERS

ALL in the FAMILY

The SECRET to STAYING POWER when your

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BEAUTY BRAND is DECADES (or even a CENTURY) OLD?
HONOR the PAST but DON’T GET STUCK in it.
SISLEY-PARIS In 1976, Hubert HOUSE OF KRIGLER The
fragrance brand was established
d’Ornano bought a small French in 1904 by Berlin-born Albert
perfume line, renamed it Sisley Krigler, who created his first scent
(for painter Alfred Sisley), and, for his then-fiancée, Charlotte,

PORTRAITS, FROM TOP: LARS PILLMANN; COURTESY KRIGLER; COURTESY BABOR BEAUTY GROUP; STILL LIFE: COURTESY THE BRANDS.
in 1879. Today it is run by his
along with his wife, Isabelle, great-great-grandson Ben Krigler.
expanded the brand’s focus Claim to Fame Over the past
beyond fragrance to include century, Krigler has developed
more than 700 scents, including
skincare, makeup, and hair blends worn by Audrey Hepburn
care. Today, Sisley is a global (English Promenade 19) and
beauty company run by their John F. Kennedy (America One 31).
The Past “I’m like a museum
son Philippe d’Ornano. keeper,” says Ben, who calls
Claim to Fame While its product Krigler scents a piece of history.
portfolio is broad, the brand is The Future Krigler recently intro-
duced a limited-edition take on
best known for its skin-plumping floral-woody Eleganter Schwan
Black Rose skincare line. 06, created in 1906 to celebrate
The Past When Christine d’Or- Bavaria’s Neuschwanstein Castle
and Krigler’s own German roots.
nano, Sisley ’s global vice The new bottle features handmade
president and a daughter of Austrian glass and silk screening
Hubert and Isabelle, thinks inspired by Bavarian dirndls.

of her late father, she recalls

the handkerchief he routinely
spritzed with Sisley’s Eau de
Campagne cologne and carried
in his pocket. “He once gave
1A

me his scented handkerchief

as a comfort when I was in the
hospital as a child,” she says.
The Future To honor Hubert’s love From top: Isabelle and Hubert d’Ornano;
Sisley L’Eau Rêvée d’Hubert ($195)
of fragrance, Sisley is launch- and Black Rose Cream Mask ($180,
ing a new scent this month
2

shopBAZAAR.com ); Albert and Charlotte

Krigler; Krigler Eleganter Schwan 06
called L’Eau Rêvée d’Hubert.
Nymphenburg Edition ($450); Leo Vossen
The blend features a climbing with daughter Jutta; Doctor Babor
geranium that Isabelle cultivated Retinol Smoothing Toner ($49.90)

at their family’s country home

and that Hubert loved. “My BABOR BEAUTY GROUP In 1962, German pharmacist
parents were together for more Leo Vossen bought a fledgling skincare brand with
than 50 years,” says Christine. one cleansing product—and turned it into Europe’s
4

number-one professional skincare brand. Today it is

“They did everything together, run by Vossen’s grandchildren.
and now my mother has helped Claim to Fame Babor was the first beauty company
create this geranium fragrance to use ampoules to package its serums, giving users
a precise daily dosage.
for my father.” The new scent The Past Hy-Öl, a cleansing oil created in 1956 by
is part of the Les Eaux Rêvées chemist Michael Babor, is still among Babor’s
top-selling products.
3A

collection, which also includes

The Future Babor’s Doctor Babor Retinol Smoothing
three fragrances named for Toner, a mix of retinol, hyaluronic acid, and polyglu-
d’Ornano grandchildren. tamic acid, has just launched. HB

142 TEXT BY JAMIE WILSON B A Z A A R

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 THE LEGACY ISSUE
HAIR: LAUREN PALMER-SMITH; MAKEUP: SANDY GANZER

Reconstructing
Photograph by MAX FARAGO / Styling by YASHUA SIMMONS

Jumpsuit, VALENTINO. Necklace, VAN CLEEF & ARPELS.

 She INVENTED our century’s
MODEL of CELEBRITY,
foreshadowing the INFLUENCER
ECONOMY along the way.
That was HOT, but with a new
MEMOIR, a new BABY, and
a new PERSPECTIVE on LIFE,
PARIS HILTON
is DROPPING the ACT.
Story by EMMA CARMICHAEL
Photographs by MAX FARAGO
Styling by YASHUA SIMMONS
n the day her son was born, Paris Hilton put on
a brunette wig and a hoodie and checked into a hospital under a
different name. Her platinum-blond hair is one of her many calling
cards, and it felt imperative that she go unnoticed. Her baby’s
impending existence was, at that point, a secret to the rest of the
world, known only to Hilton, her husband, Carter Reum, and their
surrogate. Even their immediate families would not find out until
just before she announced his arrival on Instagram.
“My entire life has been so public,” Hilton says over the phone
in late January, hovering outside of the baby’s nursery and speak-
ing quietly while he naps. “I’ve never had anything for myself. We
decided that we wanted to have this whole experience to ourselves.”
Once he’d been cleared to leave the hospital, she and Reum
brought their son home, to the house they recently bought in
Beverly Hills. For two full days, they were truly alone (they’d told
their staff the house was being painted), enjoying the relative
quiet of life with a newborn—getting used to his sleeping and
feeding schedules and singing him lullabies. (Hilton was partial
to “Twinkle, Twinkle, Little Star” as well as her 2006 hit, “Stars
Are Blind.” “The acoustic version,” she clarifies.) Then, when it
146
seemed like the news was about to come out on its own, they
broke the spell and announced they’d become parents.
Even with a surrogate, a pregnancy is a big secret to keep.
But Hilton is used to keeping parts of her life hidden. In the 2020
documentary This Is Paris, she came forward for the first time about
the abuse she suffered in her adolescence, after her parents, Rick
and Kathy Hilton, shipped her off to a series of boarding schools
that promised to reform troubled teens. She has since become a
prominent advocate for shutting down the so-called troubled-teen
industry; in 2021, she supported a bill to further regulate the schools
in Utah, and she is now pushing for federal reform.
It was the start of a transformative three years for Hilton.
The entrepreneur, reality-television star, DJ, performer, perfumer,
model, and socialite helped invent a certain kind of vacuous fame
in the early aughts, when she was mostly famous for her last name,
going to parties, being hot, and saying “That’s hot,” but at 42, the
endlessly iterative star has traded playing Paris qua Paris for a more
authentic, transparent version of herself. Her memoir, Paris: The
Memoir, out this month, puts Hilton squarely in charge of her own
cultural recontextualization—“How do we not see that the treatment ➤
B A Z A A R
Top, bra, lace skirt, and miniskirt, TORY BURCH. Studs, DE BEERS.
Pumps, CHRISTIAN LOUBOUTIN; shopBAZAAR.com.
 “All the NEGATIVE, HORRIBLE
WORDS that they would say to me
EVERY SINGLE DAY, that STICKS
with you. I just was NOT SECURE.
Now I feel that people FINALLY
RESPECT ME and GET ME in ways
that THEY NEVER DID.”

Jumpsuit, VALENTINO. Necklace, VAN CLEEF & ARPELS. Pumps, VALENTINO GARAVANI.
Shirt and miniskirt, VERSACE. Earrings and necklace, CARTIER. Ring, her own.
of It Girls translates to the treatment of all girls in our culture?”
she writes at one point, sounding Elle Woodsian—and plunges into
darker, shocking details from her high school years. It’s the final
step in her unburdening and all of the attendant change that has
come with it, including marriage, motherhood, and a fundamental
shift in her priorities. “Advocacy,” she writes in Paris, “saved my life.”
Hilton’s own childhood ended abruptly, violently. One could
understand why she’d want to ensure her son’s welcome into this
world felt sacred and safe. “I want to protect him and to be with
him every second,” she says. “You have this mother instinct that
kicks in, which I’ve never had before. I feel so complete now.”
t’s well documented that Hilton has two distinct voices.
One is her regular, private speaking voice, which is low
toned and almost sonorous; the other is the voice she uses
for the public-facing character of Paris Hilton, which is
higher pitched and coquettish, the real-life Valley Girl
standard. In a mid-2000s clip that went viral on TikTok,
where Hilton has flourished thanks to a new Gen Z fan base,
Hilton bellows to the driver of a waiting car to wait “two minutes.”
When an awaiting paparazzo asks how she’s doing, she transforms
midstep: “Goooood,” she purrs.
In Paris, Hilton describes the character as “my steel-plated
armor,” a “dumb blonde with a sweet but sassy edge”: “I made
sure I never had a quiet moment to figure out who I was without
her. I was afraid of that moment because I didn’t know what I’d
find.” Dropping the act would mean navigating, and overseeing,
yet another public reconstruction of herself.
When Hilton agreed to participate in This Is Paris, she didn’t
anticipate that it would touch on her high school experience at
all. But during filming, she and the director, Alexandra Haggiag
Dean, grew close, and Hilton started to open up to her about
what she’d been through. She was terrified before it premiered
in September 2020, unsure of how her audience would react. “My
brand had been so the opposite of that. I had this whole Barbie-
doll, airhead”—and here she instinctively slips into the voice, as
she does occasionally throughout our conversation—“ ‘perfect life’
persona. And there was some deep trauma that led to all of that.”
It’s early December, and we’re tucked away in a corner room
in her home, with French doors that open out onto a sprawl-
ing backyard with a pool. Hilton is tired and cramping because
she has spent yet another morning at her fertility clinic, where she
completed her seventh egg retrieval to date. (Hilton and Reum,
a venture capitalist, would like to continue expanding their family;
she says she’s determined to have a daughter one day.) On the
coffee table between us, someone has laid out a middle-school
sleepover dreamscape—more bowls of snacks than a Cold Stone
toppings spread, as well as a massive pitcher of lemonade—and
she picks at sliced fruit as her two Pomeranians, Ether Reum
and Crypto Hilton, yap like parakeets on the floor. (“They were
named at the top of the market,” Reum tells me apologetically.
“We’re thinking about Web3 names now.”)
Hilton and Reum are still moving in, but their interior decorator
has started to hang art. Most of it is Paris-themed. In the sitting
room where we talk, there’s a massive black-and-white portrait
of Hilton; there’s also, in equal stature, one of Marilyn Monroe.
“She was really misunderstood,” Hilton says, cross-legged on
0 3 / 2 3 151
a white overstuffed couch in a black velour tracksuit and rainbow
socks. She read Monroe’s memoir, My Story, when she was working
on her own book and found she related to it so much that it made
her cry. “She had horrible things happen to her, and she kept that
all hidden and portrayed this fantasy life. And I definitely did
that as a coping mechanism for all the trauma I went through.
I didn’t even know who I was.”
WHEN HILTON WAS 15, she moved into a Waldorf Astoria condo
with her parents and three younger siblings (sister Nicky and brothers
Conrad and Barron) in Manhattan. She started going to clubs and—not
helped by her as-yet-undiagnosed ADHD—falling behind in her
studies. She was kicked out of two elite Manhattan private schools.
“I was not a bad kid,” Hilton says. “I snuck out at night, got
bad grades, ditched school. But my mom and dad were so strict.
They wanted me to be home at 11:00.”
Hilton wanted to focus on her modeling career, but Kathy,
a former child actor, didn’t want her to rush into the business.
When she was 16, Kathy and Rick decided to send her to a for-profit
behavior-modification program that had come highly recommended.
“She was breaking all of the rules,” Nicky remembers. “My
parents had no idea what to do. They were trying to protect her.”
It happened overnight. Hilton remembers being woken up
by two strange men who took her, screaming, from the apartment
while her parents looked on in tears from their bedroom door.
She was thrown into a waiting SUV and flown across the country
with little explanation. For close to two years, Hilton was shuffled
through a series of residential “treatment centers” across the country.
At CEDU, a now-shuttered “therapeutic boarding school” in
California that Hilton attended, students were forced to participate
in “attack therapy” or “raps,” long, combative group sessions in
which they were encouraged to insult and denigrate one another
for the bad behavior that had landed them there.
After CEDU, Hilton was sent to other similar programs and
attempted to escape them with an admirable doggedness—her
penchant for climbing fences, it turns out, is not just a party
trick—but she was always found, sometimes with her family’s
assistance, and brought back. At one school, she was once slapped
and strangled in front of other students. Her fourth and final stop
was Provo Canyon School (PCS) in Utah, which she has described
as a total-lockdown facility. She was not permitted outside for 11
months. At one point, she stopped taking the pills she was given
and was sent to a tiny solitary-confinement cell, called “Obs”—short
for observation—as punishment.
“It’s a cold room,” Hilton recalls. “There’s blood on the walls
and just a drain in the middle of the room. I had no idea what
time it was; there’s no clock. You’re just going crazy.” She passed
the time envisioning how she wanted to spend the rest of her
life: “I started thinking, ‘What am I going to do when I get out of
here? I am going to work so hard and become so successful that
my parents, these people, a man—no one will ever tell me what
to do again.’ I really equated money to freedom, independence,
and happiness. That became my laser-beam focus.”
(In February of 2021, Hilton detailed these allegations of
abuse she’d suffered at CEDU, Provo, and other schools before a
state-senate committee hearing at the Utah capitol. When reached
for comment, Provo Canyon School’s current CEO provided ➤
a statement noting that “Provo Canyon School was sold by its
previous ownership in August 2000. We therefore cannot comment
on the operations or student experience prior to that time.… We
do not condone or promote any form of abuse.” Bazaar’s attempt
to obtain comment from former representatives at CEDU, which
shut down in 2005, was unsuccessful.)
Hilton’s parents finally pulled her from PCS in January of 1999,
just a few weeks shy of her 18th birthday. “It was this whole new
world,” she says. “I had not seen a TV. I had not seen a magazine.
I had no idea what was happening in pop culture.”
Nearly 25 years later, Hilton says she’s forgiven her parents
for sending her away. (Nicky says she didn’t know just how bad it
had been until she watched the documentary; in it, Kathy learns
for the first time about the conditions that Paris experienced. “Had
I known this, Dad and I would have been there in one second,”
she says.) Kathy apologized to her before her wedding. Hilton says
she felt like she’d lost “the most important, most fun years of being
a teenage girl. Sixteen to 18 is like…” She trails off, unable to call to
mind something as typical as the prom or a graduation ceremony.
hen Hilton got back to New York, she felt
desperate to make up for lost time. She
got modeling jobs, and she and Nicky
started going to fashion shows and movie
premieres. She learned quickly how to
use the growing hordes of paparazzi who
followed her around New York and L.A. to her advantage, gamely
posing for high-value candid shots that were likely to land her in
the tabloids and inventing a new kind of fame. “I had no agent,
no publicist, no stylist,” she says. “I had a fake email address and
would pretend to be my [own] manager.”
“I remember walking out with my sister and having 50 photog-
raphers screaming my name,” Hilton says. “I was like, ‘Oh, this is
what love is.’ ”
She dressed herself with a nose for early-aughts excess: Barbie
pinks, convertible roller-skate sneakers, Juicy Couture tracksuits—a
kind of pure and youthful style experimentation that now seems
old-fashioned. “All of that was just from us out shopping,” Nicky
says. “Stylists have taken all the originality out of the game. It was
so different back then. It was so real.”
At the time, no one would’ve called the looks timeless, but the
Y2K style Hilton helped popularize—low-rise jeans and going-out
tops—has come back around. In September, she closed Versace’s
Spring 2023 show in a hot-pink metal-mesh minidress. Nicky
says one thing she loves about her sister, though, is that she “does
not care about designers or trends at all.”
“She was just invited to the Celine show. She’s like, ‘What’s
Celine?’ ” Nicky says, laughing. “She just wears what she wants,
and I think it’s no mistake that she is the creator of some of the
most iconic fashion moments of my generation.”
Hilton’s breakthrough moment came in December 2003,
when The Simple Life—her wildly popular Fox reality show with
childhood friend Nicole Richie—premiered to 13 million viewers.
“That’s when the character really came out, because the producers
wanted Nicole to be the troublemaker and [me to] be the airhead,”
Hilton says. “Everyone assumed that’s who I was in real life.”
152
The show catapulted Hilton into a new category of fame—and
the scrutiny that came with it. It was generally an unkind era for
young women stars, but the distaste for Hilton was an especially
potent brew: She was a hotel heiress with a famous last name,
no discernible talent, vocal fry, and a thousand-yard stare. The
reception to her could be distinctly vicious. Nicky, who has always
had a protective instinct toward her big sister, remembers sneak-
ing out of the Waldorf apartment to flip over newspapers in the
hallway so that their parents wouldn’t see headlines about Paris.
In 2007, Hilton’s party-girl era came to a crashing halt when
she was sentenced to 45 days in an L.A. County jail for a proba-
tion violation related to a reckless-driving charge. She attended
the MTV Movie Awards the same night she was processed, and
comedian Sarah Silverman told the crowd, “Paris Hilton is going
to jail.” Everyone cheered. “I heard that to make her feel, like, more
comfortable in prison, the guards are going to paint the bars to look
like penises,” Silverman added as the camera flashed to a noticeably
uncomfortable Hilton. (Silverman has since apologized.) A few
months later, after she’d served her time (she was released after
23 days for good behavior), Hilton appeared on Late Show With
David Letterman and sat through nearly five minutes of gleeful
grilling about her stint in jail. She begged him to stop and cried
as she came off the set. (Letterman later apologized.)
“The way that I was treated—myself, Britney [Spears], Lindsay
[Lohan], all of us—it was a sport,” Hilton says of the trio infamously
featured on a 2006 New York Post cover above the headline “Bimbo
Summit.” “We were just young girls discovering life, going out to a
party. And we were villainized for it.” She learned to make herself
numb to it, an ability she links back to CEDU’s rap sessions. “We’d
spend hours sitting there with everyone verbally abusing every
person in the room,” she says. “I was used to it.”
WHEN THE JOURNALIST VANESSA GRIGORIADIS spent a
night out clubbing with Hilton for a 2003 Rolling Stone feature,
she noticed that Hilton seemed “desperate for respect” and that
she had an “odd defensiveness.” “People have this preconceived
notion of me that is not who I am,” a 22-year-old Hilton told her.
“I’m smart, I’m sweet, I’m nice. I’m a good person.”
Twenty years later, her story fully told, she’s finally enjoying
a version of that respect. There is an obvious relief in Hilton’s
demeanor and interactions with the world, a deep pleasure in
being taken seriously—and actually listened to—for the first time.
“I feel so proud of the woman that I’ve become, because for so
long I kept all of that with me,” she says. “All the negative, horrible
words that they would say to me every single day, that sticks with
you. I just was not secure. Now I feel that people finally respect
me and get me in ways that they never did.”
There is a convenient side to the latest reinvention too. In
2005, the contents of a storage unit she’d used during a move were
sold at auction, and a couple of years later, video of an apparently
intoxicated 20-year-old Hilton using racial (Continued on page 223)
HAIR: LAUREN PALMER-SMITH FOR ORIBE;
MAKEUP: SANDY GANZER FOR SHISEIDO; MANICURE:
VANESSA SANCHEZ M C CULLOUGH; PRODUCTION:
HELENA MARTEL SEWARD AT LOLLY WOULD; SET DESIGN:
JEREMY REIMNITZ. SEE THE DIRECTORY FOR SHOPPING
DETAILS. = BUY ON SHOPBAZAAR.COM
B A Z A A R
Dress, knit, and shoes, PRADA. Earrings, CARTIER.
Dress and boots, LOUIS VUITTON.

The BLACK &

WHITE Album
Shirt, bra, underwear, and
skirts, MIU MIU.

PLEATS, RUFFLES, and GOWNS mixed

with BUCKLES, BRA TOPS, and LEATHER.
EDIE CAMPBELL showcases the season’s less
FORMAL—and more EXPRESSIVE—approach
to DRESSING UP.
Photographs by AMY TROOST
Styling by CAROLINE NEWELL
Dress, DOLCE & GABBANA.
Shirt, ÉTERNE. Underwear,
MIU MIU. Socks, FALKE.
Pumps, BALENCIAGA.
Dress, PRADA. Boots, R13.
Dress, DIOR. Boots,
AMINA MUADDI.
Top and skirt, SPORTMAX.
Boots, LOUIS VUITTON.
Dress and top, BURBERRY.
Minidress, CAROLINA HERRERA.
Boots, R13.
Dress, MELITTA BAUMEISTER.
Socks, FALKE. Derby shoes,
STEFAN COOKE.
Gown, ALEXANDER MCQUEEN.
Boots, LOUIS VUITTON.
Peacoat, COACH.
 Top, fringe bra, and skirt,
PROENZA SCHOULER.
Socks, FALKE. Derby shoes,
STEFAN COOKE.

MODEL: EDIE CAMPBELL;

HAIR: TAMARA MCNAUGHTON FOR
HAIR RITUEL BY SISLEY; MAKEUP:
KANAKO TAKASE FOR ADDICTION
BEAUTY; MANICURE: MICHINA KOIDE
FOR DIOR VERNIS; CASTING: ANITA
BITTON AT THE ESTABLISHMENT;
PRODUCTION: PHOTOBOMB
PRODUCTION. SEE THE DIRECTORY
FOR SHOPPING DETAILS.
 This page: Bodysuit, BALLY. Hoops, JENNIFER
FISHER. Elsa Peretti cuffs, TIFFANY & CO. Rings
(worn throughout), ARIANA BOUSSARD-REIFEL
and SOPHIE BUHAI. Boots, ISABEL MARANT.
Opposite page: Dress, GIVENCHY. Lace bra,
TORY BURCH. Hoops, KHIRY.
 Going HOME

Kingston native KAI NEWMAN highlights the BEST of

SPRING FASHION surrounded by FAMILY, COMMUNITY, and
the vibrant SIGHTS, SMELLS, and TEXTURES of JAMAICA
Photographs by PHILIP-DANIEL DUCASSE
Styling by TONY IRVINE

0 3 / 2 3 167
 My JAMAICA
FASHION SHOOTS have often treated Jamaica as a backdrop to the story. But
Jamaica is a place with an outsize influence on global culture. The country’s musical
genres have continually reset the pace of popular music. Its cuisine is imitated but
rarely captured. And Jamaican patois remakes language, sounding new chords in
the chorus of dialects we call English. Jamaica is a crucible for all the questions that
animate our modern world. Jamaica is a space where questions of freedom, art,
and humanity are posed by a people who have made an art form out of everyday
life. Countless poets, writers, and philosophers—Claude McKay, Sylvia Wynter,
Erna Brodber, Michelle Cliff, Nicole Dennis-Benn, Marlon James, and Safiya Sinclair
to name a few—have written and rewritten the story of the island.
For this month’s shoot with Kingston native Kai Newman, we worked with a
local production crew, and the results are electric. The excitement surrounding the
shoot is palpable. As Newman tells it, “Jamaica is such a small country. So when it
do happen for Jamaica, in Jamaica, it’s a big deal.” —KAITLYN GREENIDGE

Kai Newman details the experience in her own words:

I’m from Kingston, Jamaica. I’ve lived there my whole 25 years. Shooting in my own country,
with my own culture—it felt great. I felt more relaxed because I was home.

Sometimes fashion shoots do happen in Jamaica, but the majority of the time, it’s not Jamaican
models. So when people actually see a Jamaican model, they’re super excited, they’re ready,
they will do anything to make it happen. We were shooting inside of a house, and one person
actually changed their whole bed just for me to get a shot. On the water, there was a big
party boat that was docked, and people were coming out, recording me. They were like,
“Yes! Yes! Go, Jamdown girl!” It’s nice to work where people are rooting for you.

Stepping away from modeling to have my daughter—whew. I was just there wondering,
“What should I do? What am I going to do?” And then after I had my baby, Covid came,
so I was locked out of the world. I couldn’t do anything. But my manager, my modeling
agent Deiwght Peters, was like, “Let’s get back in the game.” And I was like, “Yes, I’m going
to make it happen, because now I have a baby to take care of. She’s my motivation.”
I look at her and I’m like, “I have to do it for you.” So now I’m doing modeling,
and I’m actually studying nursing as well. And being a mom.

This was my first time shooting with my daughter. She was so ready. They showed
her options, and she was like, “I want to wear this one.” And they were like,
“Okay, let’s get that.” So she’s her own stylist. I told her to just look in the camera.
It’s from her mom, so maybe she’s ready for it.

168 B A Z A A R
Jacket and skirt, HERMÈS. Hoops, KHIRY.
Flip-flops, TOTEME.
 This page: Minidress, LANVIN. Hoops,
JENNIFER FISHER. Boots, ISABEL MARANT.
Opposite page: Jacket and pants, ALBERTA
FERRETTI. Hoops, JENNIFER FISHER. Bag,
GUCCI. Sandals, CELINE BY HEDI SLIMANE.
On girl: Dress, POLO RALPH LAUREN.
Socks and shoes, her own.
 This page: Sweater, tank top, and skirt,
BOTTEGA VENETA. Hoops, KHIRY. Opposite
page: Jacket and shorts, PETAR PETROV. Bikini
top, CELINE BY HEDI SLIMANE. Hoops,
JENNIFER FISHER. Boots, ISABEL MARANT.
On him: Distressed denim, DOLCE & GABBANA.
This page: Sweater dress, POLO RALPH LAUREN.
Hoops, JENNIFER FISHER. Watch, CARTIER.
Opposite page: Bikini top and trousers, CELINE
BY HEDI SLIMANE. Hoops, JENNIFER FISHER.
Elsa Peretti cuff, TIFFANY & CO.
 This page: Top and skirt, MARNI. Hoops,
KHIRY. Opposite page: Dress, JIL SANDER
BY LUCIE AND LUKE MEIER. Hoops,
KHIRY. Elsa Peretti cuff, TIFFANY & CO.
Boots, STUART WEITZMAN.
 This page: Dress, ISSEY MIYAKE. Hoops,
JENNIFER FISHER. Boots, STUART WEITZMAN.
Opposite page: Gown, VALENTINO.
Hoops, JENNIFER FISHER. Elsa Peretti cuff,
TIFFANY & CO. Boots, STUART WEITZMAN.
On him: Distressed denim, DOLCE & GABBANA.
Sandals, ADIDAS.

HAIR: MELLEISA DAWKINS; MAKEUP: ERNEST

ROBINSON III FOR PAT MCGRATH LABS; MANICURE:
SHANNON MARCH; CASTING: ANITA BITTON AT
THE ESTABLISHMENT; PRODUCTION: MAXINE
WALTERS AT WALTERS PRODUCTIONS JAMAICA.
SEE THE DIRECTORY FOR SHOPPING DETAILS.
The ELEMENTS
of STYLE
Pops of COLOR. Dashes of POLISH.
Unexpected DETAILS. Whimsical TOUCHES.
Spring’s MOST EXQUISITE ACCESSORIES
are a FEAST for the EYES.
Photographs by STEFANIE MOSHAMMER
Accessories director: MIGUEL ENAMORADO
This page: Boot, RICK OWENS.
Opposite page: Glove tote,
BALENCIAGA.
 This page: Bag and boot,
ALEXANDER MCQUEEN.
Opposite page: Handbag, FENDI.
 This page: Shoulder bag,
BOTTEGA VENETA. Opposite
page: Hobo bag, CHLOÉ.
 This page: LV café clutch, LOUIS
VUITTON. Opposite page: Two-piece
gladiator sandal, GUCCI.
 This page: Sandals, ALAÏA.
Opposite page: Evening bag, CHANEL.

SET DESIGN: JADE BOYELDIEU

D’AUVIGNY. SEE THE DIRECTORY FOR
SHOPPING DETAILS.
 Neutral
TERRITORY
Photographs by PIETER HUGO
Styling by SAMUEL DRIRA
MASTERING the art of wearing HEAD-TO-TOE NEUTRALS
is all about playing with TEXTURE and SHAPE,
pairing EASY KNITS and UNSTRUCTURED PIECES
with FORM-FITTING and DIAPHANOUS LAYERS

This page: Cape, top, and clutch,

GIORGIO ARMANI. Hat, UMA WANG.
Gloves, DOLCE & GABBANA. Opposite page:
Dresses, FENDI. Draped hat, HIZUME.
Socks, BENEFEET SOX. Shoes, LOEWE.
This page: Padded top, LOEWE. Cargo pants and
headscarf (in pants), HED MAYNER. Cap,
MAX MARA. Gloves, DOLCE & GABBANA.
Socks, N21. Shoes, LOEWE. Opposite page:
Dress, gloves, and briefs, DOLCE & GABBANA.
 This page: Parka, apron top, short lace judo pants,
and judo pants, HED MAYNER. Socks, BENEFEET
SOX. Shoes, LOEWE. Opposite page: Bra, skirt,
and necklace, DIOR. Hat, UMA WANG. Gloves,
DOLCE & GABBANA. Black gloves, stylist’s own.
Bracelet, VAN CLEEF & ARPELS.
 This page: Dress, MAX MARA. Stocking top,
XULY.BËT. Choker, DETAJ. Shoes, UMA WANG.
Opposite page: Knot dress, knot pants, knit cardigan,
and knit vest, LAUREN MANOOGIAN.
Shoes, UMA WANG.
 This page: Dress, JIL SANDER BY LUCIE
AND LUKE MEIER. Stocking top, XULY.BËT.
Necklace, DETAJ. Opposite page: Hammock dress,
JW ANDERSON. Tank top, UMA WANG.
Knit belt corset (worn as headscarf), MM6 MAISON
MARGIELA. Shoes, LOEWE.

MODELS: KATIE CRAVEN AND CHU WONG; HAIR:

ANNE SOFIE BEGTRUP FOR ORIBE; MAKEUP: ASAMI
KAWAI; MANICURES: SALLY DERBALI; CASTING: ANITA
BITTON AT THE ESTABLISHMENT; PRODUCTION:
FARAGO PROJECTS; SET DESIGN: SOPHIE GLASSER.
SEE THE DIRECTORY FOR SHOPPING DETAILS.
 Super
EVERYTHING
MODEL. ACTIVIST.
ICON.
The WORLD has spent
more than THREE DECADES
trying to DEFINE
NAOMI CAMPBELL.
But she’d rather DO THAT
for HERSELF.
Story by OTEGHA UWAGBA
Photographed in Dakar, Senegal

Styling by MARIKA-ELLA AMES

n important part of the mythos surrounding
Naomi Campbell—supermodel, activist, fashion icon, occasional
hothead—lies in her origin story. You probably already know it by
now, but just to recap: Campbell, 15, a schoolgirl hailing from the
fairly unremarkable streets of London’s Streatham neighborhood,
was spotted by a model scout while out window-shopping in
London’s West End. It’s a story a world away from how most
successful models these days seem to be discovered, either scouted
via Instagram or ushered to the front of the queue by virtue of
their famous parents. Between her and fellow ’90s icon (and close
friend) Kate Moss, Campbell was responsible for a generation of
British teenage girls trying our best to look “modely” as we wandered
around the big Topshop on Oxford Street, hoping we too might
be “spotted” while out shopping on a Saturday afternoon.
Campbell’s backstory makes it seem like a chance encounter
was responsible for changing the trajectory of her life, as though
hers is some sort of “right place, right time” Cinderella story. But
then, as you’re sitting opposite her in a hotel suite in a discreet
European location, you realize that with a face like hers—those
formidable cheekbones sweeping upward as though in tribute to
the celestial beings that must have played a role in their creation
and those plump, perfectly proportioned lips—Naomi Campbell
was always going to be famous.
“I’ve been asked to write a book by literally everyone,” she ➤

200 B A Z A A R
Coat, JACQUEMUS. Balloon pumps, LOEWE.

From left: Campbell photographed by Francesco Scavullo for the October 1990
issue of Harper’s Bazaar; photographed by Peter Lindbergh for the February 1997 issue
tells me, settling into a sofa. The prospect of a Campbell memoir
is tantalizing—one wonders what her version of the many tabloid
headlines that have been written about her might be—but so far
she’s held off. “It’s time-consuming,” she explains, and anyway, she
doesn’t want to use a ghostwriter. She’d rather tell her story herself.
Campbell is Old Hollywood, carrying herself with the self-
assurance of someone who has enjoyed pre-noughties fame—that
is, proper celebrity. She does not traffic in the politics of relat-
ability or studied humility that seem to be the default of today’s
up-and-coming starlets. Her Instagram is wall-to-wall glamour
and jet-setting; our conversation is frequently punctuated with
the names of the wildly famous celebrities and fashion designers
she counts as close friends.
She has somehow remained at the white-hot center of fashion
for more than three decades; her place has been cemented in the
industry’s history. So of course I agree to drop everything and
hop on a plane the day after Christmas for just an hour of her
time. For all her hauteur, there is also at times something quite
girlish about Campbell—like when we sneak out on the terrace
of her hotel room so she can have a cigarette. (“I’m going to quit
on New Year’s Eve,” she informs me, slightly conspiratorially.)
She has just come off the back of a dizzying few weeks of
travel, a period that saw her jet from Milan to Miami, Miami to
London, London to Egypt (where she sat front row at a Dior
menswear show), back to London again for the British Fashion
Awards, then on to the Senegalese capital of Dakar to witness
Chanel’s first-ever runway show in sub-Saharan Africa. Then
202
FROM LEFT: © INTERNATIONAL CENTER OF PHOTOGRAPHY AND FRANCESCO SCAVULLO TRUST; © PETER LINDBERGH/PETER LINDBERGH FOUNDATION, PARIS
Saudi Arabia to London. London to New York. Back to London.
Soon, she will head back to the Middle East and then on to Senegal
again for vacation.
Why, I ask, is she still working so hard? Most of her compatriots
have long since retired, emerging every now and then for the odd
legacy campaign but otherwise, it seems, content to slow down.
Campbell, by contrast, is still as booked and busy as she was in
her ’90s heyday, fronting campaigns for Balmain, Hugo Boss, and
Pat McGrath Labs in the past year alone. What further peaks could
there possibly be for her to scale?
“I just like what I do,” Campbell says. “I’m privileged at this
point in my life that I can choose the things that I do. And I’m
also blessed that I still have all these great opportunities offered
to me. So why not?”
“I have nothing to prove,” she continues. “It’s what I like doing.
My work is hard, but it’s joyful at the same time. I’m still enjoying
what I do, and that’s also important—to enjoy what you do.”
That work is no longer—and hasn’t been for some time—solely
modeling. A significant part of Campbell’s time is now spent engaging
in a mixture of activism, philanthropy, and cultural ambassadorship,
often via Fashion for Relief, the nonprofit she founded in 2005 to
raise funds for victims of Hurricane Katrina, which has since gone
on to raise more than $15 million for charitable causes worldwide.
In October, she launched Emerge, an initiative focused on discov-
ering and promoting the next generation of creative talent from
emerging communities around the world, with a star-studded gala
and fashion show in Qatar. In layman’s terms, that means appren-
B A Z A A R
 ticeships, mentoring, and skill development within the creative
industries—fashion, yes, but also art, entertainment, and tech.
Campbell’s desire to uplift the next generation of fashion
creatives is also evident in the number of younger models she’s
taken under her wing. Among that cohort is Adut Akech, the doll-
faced 23-year-old South Sudan–born model who is currently one
of the most sought-after faces in the industry, thanks in no small
part to Campbell’s support.
“You know how a mom cares for her child? Whenever I’m
around her, I feel safe,” Akech says. “She’s like a comfort blanket.
Even though I’m so far away from my biological mother, I feel
like I also have another figure who’s taking care of me like her
own child.” Akech first met Campbell in 2017 on the set of Tim
Walker’s Alice in Wonderland–themed Pirelli Calendar shoot, which
famously showcased an all-Black cast. It was, Akech says, a “fangirl
VIA GETTY IMAGES; DAVE BENETT/GETTY IMAGES FOR FASHION FOR RELIEF; ANADOLU AGENCY VIA GETTY IMAGES
TOP: DAVE BENETT/GETTY IMAGES FOR FASHION FOR RELIEF; BOTTOM, FROM LEFT: YANN GABLIN/PARIS MATCH

moment, but I was like, ‘Don’t be weird.’ ” When she moved to

New York City by herself a few months later, she reached out to
Campbell, who had given her her number. “She cares for me how
she would care for her own daughter,” Akech says. “Every time
I hang out with her, she makes sure I get in my car safe. ‘Text me
as soon as you get home.’ She will not sleep if I don’t text her.”

here are many ways to be a mother. “I mother a lot

of people,” Campbell tells me when we broach the
topic. She says she has always known she wanted
to be one. “Always.”
In May of 2021, Campbell announced she had
welcomed a daughter. “It wasn’t about when,” she
says. “Everyone’s life takes a different course. And it’s about whom,
and it’s a very important question because you want to make sure
that you do that with the right person. [You’re] connected for
the rest of your life.” She pauses for what feels like much longer
than a few seconds. “That’s why I chose to do it alone.”
But to embark on single parenthood at the age of 50 is quite
an undertaking. Was she not nervous about the prospect?
“No.”
Not at all?
“No, no.” After a moment, she reconsiders. “Well, I guess I may
be nervous, [in the sense of ] ‘Am I doing everything right?’ But
you go with the flow.” Campbell told few people about her plans
to have a child, though one person she did tell was the actress
Cameron Diaz (or “Cammie,” as she refers to her), to whom she
also now turns for parenting advice. “I’ve known her for a long
time, and I really love and respect her. I told her, and she was
just like, ‘Okay.’ She’s just a stand-up, loyal friend.”
Campbell with Adut Akech at a Fashion for Relief charity gala in London in 2019
Otherwise, Campbell is somewhat reluctant to expound on
the subject of motherhood, wary of it becoming the defining
narrative of her public identity, a feeling many who embark on
motherhood will recognize.
We are still out on the terrace, having permanently relo-
cated there from the hotel room, and the sun is beginning to
set. High up on a hill, looking down at the lights from a nearby
town twinkling in the distance, it is an absurdly romantic view.
Against this backdrop, Campbell softens.
In the coming days, she will travel to Senegal for a vacation,
and though Campbell frequently refers to herself as a “global
citizen,” it’s clear that this is the part of the world that truly has
her heart. “The minute I land in Africa, I feel … well, one thing
we don’t have is racism. So that’s a big tick off the box,” she says,
describing the psychic weight that is lifted when one doesn’t ➤

From left: Campbell with Nelson Mandela in South Africa in 1998; with Akech and students at a Fashion for Relief charity gala in London in 2019; with Senegal’s president, Macky Sall, in Dakar in 2022

0 3 / 2 3 203
have to worry about the prospect of a racist microaggression,
when you can just blend in among your skinfolk (as much as
someone as famous as her can ever truly blend in). Campbell
talks dreamily of Kenya, where she has a home, and of its spec-
tacular natural beauty. “I’m just happy that people are finally
understanding how beautiful the African continent is,” she tells
me, rhapsodizing about Senegalese dishes like thieboudienne
and yassa. (Sensing an opportunity, I try to goad her into pick-
ing a side in the “jollof wars,” a jokey rivalry between diasporic
Ghanaians and Nigerians about which country makes the best
jollof rice, but she sidesteps my attempts to co-opt her to Team
Nigeria, smiling. “I’m not getting involved.”)
And of course, as always, there’s fashion. Campbell is as excited
by the potential fashion has to generate economic growth within
Africa as she is by the actual clothes, though she lists Kenneth
Ize, Steve French, and Thebe Magugu as among her favorite
African designers. “Fashion’s a billion-dollar business,” she says.
“That’s why I want the countries I go to, the emerging markets,
I want them all to understand, and invest in it, and support their
creatives. That’s why I’m doing what I’m doing.”
Talk of wealth and investment in the African fashion industry
brings us neatly to two recent landmark events that occurred within
just days of each other in December: Dior’s Kim Jones staging
a fashion show in front of the Pyramids of Giza and Chanel’s
Métiers d’art show in Dakar. I worry about the potential for such
relationships to become extractive or exploitative—not to mention
the danger of the current focus on Africa merely being a trend
before the fashion world moves on.
When I put this tension to Campbell, she responds evenly:
“It’s not going to be a trend because I’m not going to allow it.”
Both Dior and Chanel have made long-term commitments to
investing in local communities, she assures me; that is a prereq-
uisite of her attending such events. “There’s a couple of things
I’ve said no to in the past, where it’s like, ‘Okay, we need you to
sit in the front row because we’ve got African designers.’ But I’m
like, ‘Yeah, but are the African designers going to come out and
take a bow? Who’s taking the bow?’ ” she says. “And they say, ‘Oh,
the designer from the brand is.’ And I’ll be like, ‘Nah, that’s not
for me.’ But Kim [Jones]’s commitment to Egypt and to Africa
is real. Chanel’s commitment to Senegal is real. They don’t just
go in and do the show and leave. They go in and they make a
commitment to the infrastructure.”
n 2020, the fashion world (along with nearly every
other industry) responded to the global Black Lives
Matter protests, as well as the charged conversations
about racism that followed, by pledging greater diversity
and more BIPOC representation at senior levels of the
industry. A year later, a survey conducted by The New York
Times revealed that, overall, little had changed. There can, with
social-justice movements like antiracism, come a point where
pushback arises, as those who are invested in the status quo—who
perhaps at one point were even in favor of progress—become
fatigued or resistant to change and begin to feel that “enough” has
been done. A sense that “you’ve had your time; we’ve acknowl-
edged your culture,” as Campbell puts it, agreeing that she too
has observed this tendency, though she is resolute all the same.
204
“It’s not going back. Period,” she says. “We’re not a trend.”
But given how vocal Campbell is about racism and diversity,
how on earth did she end up walking in the highly controversial
Yeezy show during Paris Fashion Week last October, at which
Kanye West sent models down the runway clad in T-shirts with
the racist slogan “White Lives Matter” printed on them?
“Didn’t see it. I was on the top floor,” she replies crisply,
explaining that the layout of the venue meant she didn’t see the
T-shirts, didn’t know about them, in fact, until she got back to
her hotel and her agent brought her up to speed.
“I was shocked like everybody else. It’s not something
I condone,” she replies when pressed, but at this point I sense
resistance. “Next question; I’m not getting into it.” A taut silence
hangs over us. As much as she doesn’t want to talk about it,
I also don’t want to move on just yet. “One thing I’m not going
to do is sit here and slag [off ] my own. I’m not doing that,” she
elaborates, by which she means, presumably, that she doesn’t
want to get into a scenario where one Black celebrity is publicly
criticizing another, with the headlines that might generate.
She does eventually concede, however, that she felt somewhat
used by the stunt. “It wasn’t fair to us not to know and to put
us in that situation. I went there with the best intentions … 
to be supportive.”
JUST DAYS AFTER I interview Campbell, Vivienne Westwood,
the legendary designer and doyenne of the British fashion indus-
try, passes away at 81. When I hear the news, I think instantly
of the famous image of Campbell falling—with complete and
utter grace—mid-runway during a 1993 Vivienne Westwood show,
courtesy of a nine-inch pair of the designer’s famous Ghillie
platform heels. That that image has since gone on to become a
celebrated part of fashion history is perhaps proof of Campbell’s
iconicity, that she could somehow make falling over look chic
and aspirational rather than an embarrassing faux pas.
Tributes to Westwood pour in from across the fashion industry,
including from Campbell. “Your legacy is just beginning,” her
Instagram post says, “and it will be etched in stone for forever,
as your contribution to our industry is immeasurable.”
When I ask what Campbell hopes her own legacy might
be, she scoffs slightly; that isn’t something she’s particularly
preoccupied by. “Accolades are nice, but that doesn’t make or
break me or define what I need to do. I’m not looking for that.
I do what I do because I feel passionate about needing to do it.”
For her, the reward comes in “just seeing [the next generation]
do well. … That is what makes me happy.” HB
“I have NOTHING to
PROVE. My WORK is HARD,
but it’s JOYFUL at the same time.
I’m still ENJOYING what I do,
and that’s also IMPORTANT—to
ENJOY WHAT YOU DO.”
B A Z A A R
 Blouse, pants, necklace, and belt, CHANEL.

HAIR: KARIM BELGHIRAN; MAKEUP: ESTHER EDEME

FOR PAT MCGRATH LABS; MANICURE: SOLANGE
MENDY; PRODUCTION: WESTERN PROMISES
AND INCREDIBLE STUDIOS. SPECIAL THANKS
TO BLACK ROCK SENEGAL. SEE THE DIRECTORY
FOR SHOPPING DETAILS.
Light It UP
 The season’s
most DRAMATIC
SILHOUETTES
are artful
EXPLORATIONS
of STRENGTH
and FORM, with
showstopping
SPLASHES of
SPARKLE
Photographs by JESSICA MADAVO
Styling by NELL KALONJI

This page: Bra, skirt, and shorts, DIOR. Sunglasses

and sandals, BALENCIAGA. Tights, FALKE
FAMILY. Opposite page: Bikini, hat, and earrings,
MOSCHINO. Tights, FALKE FAMILY.
This page: Hooded top, trousers, and belt, SAINT
LAURENT BY ANTHONY VACCARELLO.
Sunglasses and sandals, BALENCIAGA.
Cuffs, MICHAEL KORS COLLECTION.
Tights, FALKE FAMILY. Opposite page: Gown,
sunglasses, and sandals, BALENCIAGA.
 This page: Transparent cape and bodysuit,
GIORGIO ARMANI. White bodysuit, stylist’s
own. Tights, ROBERTO CAVALLI. Sandals,
BALENCIAGA. Opposite page: Bralette
and jeans, FERRAGAMO. Ruffle gloves,
AZ FACTORY X LUTZ HUELLE. Tights,
FALKE FAMILY. Sandals, BALENCIAGA.
 This page: Bra top and skirt, ETRO. Bodysuit,
WOLFORD. Veil, PIERS ATKINSON.
Tights, FALKE FAMILY and ROBERTO CAVALLI.
Sandals, BALENCIAGA. Opposite page:
Dress, TOM FORD. Bodysuit, WOLFORD.
Sunglasses and sandals, BALENCIAGA.
Tights, FALKE FAMILY.
 This page: Jacket, 16ARLINGTON.
Headpiece, COSTUME STUDIO. Necklace,
VAN CLEEF & ARPELS. Tights, FALKE FAMILY.
Sandals, BALENCIAGA. Opposite page: Top,
PROENZA SCHOULER. Bottoms, MOSCHINO.
Tights, FALKE FAMILY. Platform heels,
GIANVITO ROSSI.

MODELS: BINGBING AND ADHEL BOL;

HAIR: CLAIRE GRECH; MAKEUP: LAURA DOMINIQUE
FOR M.A.C; MANICURES: CHIARA BALLISAI FOR
DIOR MANICURE; CASTING: ANITA BITTON AT THE
ESTABLISHMENT; PRODUCTION: LOCK STUDIOS;
SET DESIGN: AMY STICKLAND. SEE THE DIRECTORY
FOR SHOPPING DETAILS.
 On Anika Collier Navaroli: Gilet, shirt, and pants,
BRUNELLO CUCINELLI. Top and bottom rings,
DINH VAN. Bangle, NOUVEL HERITAGE.
Eyewear, necklace, and middle ring, her own.

AFTER the
WHISTLE BLOWS
SILICON VALLEY likes to lionize DISRUPTORS. But for
WOMEN in the TECH INDUSTRY who SPEAK OUT, there can
be a HIGH PRICE to pay for ROCKING THE BOAT.
216 B A Z A A R
 Story by PRACHI GUPTA
Photographs by DEIRDRE LEWIS
Styled by NICHOLAS GRASA
ne day when Anika Collier Navaroli was in middle
school, her mother took her on a trip to the supermarket in their
Florida hometown. On their way, a man driving a pickup truck
with a Confederate flag on the back veered onto the sidewalk
and yelled racial slurs at them. Navaroli and her mother quickly
ran inside a store, where they called the police and waited for
help to arrive—while the truck sat parked outside. “This person
had parked their car, gone on shopping,” Navaroli recalls, still
mystified. “The cops basically told my mother and I that there
was nothing they could do because there was no crime that had
been committed and that this person had the First Amendment
right to say and do what they had done,” she explains. But the
experience stuck with her. “It really started something in my
brain, trying to understand the interpretation of the First
Amendment and free speech that could allow or condone or
make room for these sorts of experiences that were incredibly
violent and incredibly dangerous.”
It’s a question Navaroli would dedicate her career to exploring.
After graduating from the University of Florida, she earned her
law degree at the University of North Carolina and studied jour-
nalism at Columbia University, where she wrote her master’s thesis,
“The Revolution Will Be Tweeted,” on the role of social media in
movements like Occupy Wall Street. Her interest in free speech
and technology eventually led her in 2019 to Twitter, where she
was hired to help improve the company’s content moderation and
conduct policies. But in the months leading up to the 2020 U.S.
election, that work became increasingly complex to navigate.
While testifying last year for the House Select Committee
investigating the January 6, 2021, attack on the U.S. Capitol, Navaroli
described a period at Twitter in late 2020 and early 2021 when
hate speech and incitements to violence on the platform were on
a precipitous rise. Navaroli told the congressional committee that
she and her team voiced concerns about the relationship between
then-president Donald Trump’s incendiary rhetoric during his
campaign against former vice president Joe Biden—which later
included claims that the election was “stolen” from him after Biden
was deemed the winner—and increasing calls for uprising on the
platform. Navaroli pointed to the September 2020 presidential
debate, when Trump appeared to be speaking directly to members
of far-right extremist organizations like the Proud Boys, telling
them to “stand back and stand by,” as an inflection point of sorts.
“The floodgates kind of opened at that moment,” she said. On the
platform, she testified, there was “a very specific shift in tenor from
‘Well, maybe we should do a civil war’ to ‘We’re definitely going
to do [a] civil war, and we’re looking for a time, place, and manner.’ ”
Navaroli said she and her team pushed for stronger policies
for content moderation—among them, arguing for the removal
of individual tweets and a more nuanced policy surrounding
what was referred to as “coded incitement to violence” or “dog
whistles.” But executives at Twitter, she said, were hesitant to
act—in part, she testified, because they “relished in the knowledge
that they were also the favorite and most-used service of the
0 3 / 2 3 217
former president and enjoyed having that sort of power within
the social-media ecosystem.”
“If we made no intervention into what I saw occurring, people
were going to die,” Navaroli told the committee. “And on January
5, I realized no intervention was coming.”
Trump remained on Twitter, tweeting through the January 6
attack, during which four people lost their lives and close to 140
police officers were injured. That evening, Twitter locked Trump’s
account, then unlocked it the next day before “permanently”
suspending it on January 8. (The suspension was lifted in November,
following Elon Musk’s $44 billion purchase of Twitter last fall.)
Navaroli, who by January 2021 was the most senior and tenured
member of the safety policy team, left not long after.
OVER THE PAST TWO DECADES, big tech has come to influence
virtually every aspect of our lives, from how we communicate to
the ways we understand what’s happening in the world. The start-up
culture that birthed behemoths like Twitter, Facebook, and Google
is one built on promise: a belief in the power of ingenuity and
creativity to democratize society and propel humanity toward
some mythic techno utopia. The cult of the eccentric futurist
disruptor-founder has turned tech entrepreneurs into celebrities
and the move-fast-and-break-things ethos they espouse into a
kind of seductive mantra.
The work done in the name of “disruption,” though, can
have hidden consequences. In a 2016 TED talk, Uber cofounder
(and now former CEO) Travis Kalanick lamented how, in 1914,
a group of trolley owners in Los Angeles pushed for regulations
to block a local car salesman from undercutting their business
by offering cheap rides to people waiting in line. The trolley
owners, Kalanick argued, were stifling innovation. “Imagine,
without the regulations that happened, if that thing could just
keep going,” he mused. “But technology has given us another
opportunity.” A trove of documents leaked to The Guardian last
year revealed that between 2013 and 2017, Uber, amid its own
global expansion, flouted laws, lobbied politicians, and took
advantage of gig-economy workers. (“There has been no shortage
of reporting on Uber’s mistakes prior to 2017,” began a statement
issued in response to the leak by Uber, now under the leadership
of Dara Khosrowshahi, who had succeeded Kalanick as CEO ➤
“It BECAME very clear to me that
there were DEEP ASSUMPTIONS
about who a POWERFUL TECH
WHISTLEBLOWER could be
and that these ASSUMPTIONS
did NOT INCLUDE ME.”
ANIKA COLLIER NAVAROLI
 Turtleneck, AKRIS. Pants, MARINA RINALDI.
Elsa Peretti necklace and bracelet, TIFFANY & CO.

“THE thing that I CHOSE

was to HAVE a FUTURE,
because having to LIVE with
that REGRET was going to
WIPE OUT my FUTURE.”
FRANCES HAUGEN

218 B A Z A A R
 Turtleneck, LORO PIANA. Skirt, STUDIO 189.
Hoops and pendant, KHIRY.

“I just STOPPED wasting

my time TRYING to
CONVINCE these people to
give us a SEAT at whatever
TABLE they have. I want
to create my OWN table,
on my own TERMS.”
TIMNIT GEBRU

0 3 / 2 3 219
that year. “We have not and will not make excuses for past behavior
that is clearly not in line with our present values.”)
Increased regulation around digital privacy, data, and the way
tech companies operate in the marketplace, many advocates say,
could help rein in an industry where ambition can come at the
expense of safety. But for an industry that prides itself on chal-
lenging the status quo, there doesn’t seem to be much room for
dissent. Discussions around issues like responsibility and equity—
and the people who try to initiate or engage in them—are often
viewed as impediments to the pursuit of wealth and growth.
Ellen Pao, who sued her employer, Silicon Valley venture-capital
firm Kleiner Perkins, in 2012 for gender discrimination, observed
in her 2017 memoir, Reset, that tech’s exclusionism is rooted in
the homogeneity of the decision makers. “For decades now, the
venture industry has been dominated by white men who invest
in white men, who are successful and reinforce this idea that it’s
this very specific set of people who are great entrepreneurs and
who will make money for your companies,” she wrote.
Although Pao lost her suit, the publicity surrounding it
captured the attention of women across America who recognized
their own experiences of being sidelined, ignored, or forced out
of male-dominated work environments. The case seemed to ignite
a wave of promotions at venture-capital firms and inspire more
women in white-collar industries to call out the discrimination
they’ve confronted. It’s been dubbed “the Pao effect.”
he momentum has not been unfettered. In 2020,
women led only 4.7 percent of Silicon Valley’s top
150 companies by revenue, according to a 2021
report by law firm Fenwick & West. A study by
PitchBook last year showed that the amount of
venture-capital money that goes to women-founded
start-ups has actually been on the decline, down to just 2 percent
in 2021. Yet women make up a disproportionate number of the
whistleblowers who have come forward about the internal machi-
nations and inequities in Silicon Valley and at big tech companies.
The number is indicative of their status within the industry;
women and people of color are less likely to be promoted to manage-
ment positions and are often denied the power and resources they
need to effect real change. And too often, when they are promoted
to leadership positions, they are brought in to manage crises,
which places higher expectations on them than on their white
male counterparts—a phenomenon researchers at the University
of Exeter in the U.K. called the “glass cliff.” Women and Latinx
employees were also among those disproportionately impacted
by the recent rounds of layoffs at companies like Amazon, Meta,
Microsoft, and Twitter, according to an analysis by employment-
information startup Revelio Labs of data from industry layoff
tracker Layoffs.fyi and Parachute by Rocket.
In her initial testimony to Congress, Navaroli was identified
only as “J. Smith.” But after a distorted recording was played during
the January 6 hearings last July, the Associated Press misgendered
her, referring to the Twitter whistleblower as “he.” Being misgen-
dered offered Navaroli a modicum of security by protecting her
anonymity, but it also did not allow for someone like her—a queer
Black woman—to exist in the spaces she occupied. “It became very
clear to me that there were deep assumptions about who a powerful
220
tech whistleblower could be and that these assumptions did not
include me and who I am and the identities that I hold,” Navaroli
says. “That only a straight white man could have been in the position
I was in or have done the work that I did.”
“This idea of being a disrupter is really glamorized or icon-
icized within Silicon Valley,” says Navaroli, who is now a fellow
at Stanford University’s Center on Philanthropy and Civil Society,
where she is studying the experiences of Black content moderators
in tech. “But for a lot of folks, being disruptive within the industry
or at your job is very dangerous. It can lead to being fired, being
pushed out, or your contribution being erased.”
Speaking out against a culture or an institution can come at
great personal cost. “There is a huge mental toll,” says Pao, who
continues to invest in the tech sector and now runs a nonprofit
called Project Include, which is focused on increasing diversity.
“There is a huge change in how you view the world. There’s a huge
change in what your opportunities are and how people see you.”
In 2020, Ifeoma Ozoma came forward about the discrimination
she said she encountered while working at Pinterest—which, The
New York Times reported, included allegations of racism and sexism.
After leaving Pinterest that year, she launched the Tech Worker
Handbook, an online resource guide aimed at helping people in
the industry make informed decisions about whether to bring
forth allegations of misconduct. “I personally don’t believe that
anyone should martyr themselves for any cause,” Ozoma says.
“I just want folks to have their eyes wide open about what it’ll
mean for them and their families when they speak up.”
Ozoma now serves as director of tech accountability at the
UCLA Center on Race and Digital Justice and is the founder of
Earthseed, a consultancy that advises individuals and companies
on public policy and misinformation. She also helped draft and,
through Earthseed, cosponsored California’s “Silenced No More”
bill, which was signed into law by Governor Gavin Newsom in
2021 and enables workers to speak out about discrimination and
harassment even if they’ve signed nondisclosure agreements. (A
similar bill passed last year in Washington, where Amazon and
Microsoft are headquartered.) Ozoma has led a push for tech firms
to limit the scope of, or do away with, nondisclosure agreements.
“Tech is ubiquitous; it’s in all of our lives,” she says. “But that’s
also where the power lies for the companies and why abuses that
would be seen as egregious anywhere sort of fly under the radar.”
More recently, tech firms have made concerted efforts to reckon
with their issues with greater transparency. But the people brought
in to help address those concerns still often face an uphill battle.
Frances Haugen’s reason for wanting to work at Facebook
was personal: In 2016, she saw a close friend become radicalized
by conspiracy theories on the internet. It was painful for Haugen
to watch parts of this person “disappear” because he was “getting
fed such a stream of misinformation” from sites like 4chan and
Reddit. She began to pay attention to how Facebook’s news feed
served content to users, based not on the quality or accuracy of
a story but whether or not a user engaged with it. It was an aspect
of the platform’s algorithm that troll farms sought to exploit during
the 2016 U.S. election cycle, feeding Facebook stories designed
to stoke fear and outrage and spread misinformation.
Haugen, an algorithmic product specialist and a veteran of
Google, Pinterest, and Yelp, saw room for (Continued on page 222)
B A Z A A R
 Sweater, NILI LOTAN. Pants, PETER DO.
Necklace and bracelet, DINH VAN.

FOR NAVAROLI AND PAO, HAIR: ELISE BIGLEY;

MAKEUP: HETHER BECKREST; MANICURES:
ROCHELLE DINGMAN; PRODUCTION:
ANNEE ELLIOT PRODUCTIONS. FOR GEBRU
AND HAUGEN, HAIR: ELIZABETH MORACHE;
MAKEUP: AMY STROZZI; MANICURES:
NINA PARK; PRODUCTION: JESS OLDHAM.
SEE THE DIRECTORY FOR SHOPPING DETAILS.

“There is a HUGE CHANGE

in how you VIEW the
WORLD. There’s a huge
change in what your
OPPORTUNITIES are and
how PEOPLE see YOU.”
ELLEN PAO

0 3 / 2 3 221
VOICES:
IN CONVERSATION
CONTINUED FROM PAGE 120
BJK: I get embarrassed about that. It was
started in 1963 as the Federation Cup, and
I was on the inaugural U.S. team. I was 19
years old. I was so excited because I love
team sports and I love representing some-
thing bigger than myself, and there’s nothing
bigger than your country. I remember yell-
ing at the other two members, Darlene
Hard and Carol Caldwell. I said, “We have
to win this, because look at this trophy. As
the years go on, everybody’s going to see
that we won the first cup.” They renamed
it the Billie Jean King Cup in 2020, so now
I’m more involved. I really want to make it
into a much bigger, more inclusive event.
I’ve got all kinds of ideas for it. Last year,
I went to you and said, “Tory, we want to
give this cup a winner’s jacket like at the
Masters golf tournament,” because they
give a green jacket to the winners there.
I can’t tell you the excitement around the
blue winner’s jacket you designed. First of
all, the Swiss have never won. They won
it for the first time. You should have seen
their eyes dancing when they got their
jackets. I’ve never seen anything like it.
The jacket is going to be very meaningful
as time goes on.
TB: It’s really beautiful. I studied what
you wore in your matches, and you had
these blue Adidas sneakers, so we decided
to design the jacket in that extraordinary
color. To call it “Billie Blue” seemed quite
f itting. Do you want to talk about the
message you wrote that is on the inside
of the jacket?
BJK: It says, “Congratulations on winning
the 2022 Billie Jean King Cup. As a member
of the first winning team at the Federation
Cup in 1963, I dreamed of sharing this title
with women like you. Tory Burch shares my
passion for tennis and women’s empower-
ment. We designed the champion’s Billie
Blue jacket to symbolize your incredible win
and how far women have come in sports.
Together, we can make equality a reality.”
It’s really beautiful.
TB: It was super meaningful to see photos
of the winning team in the jackets. It really
feels like this was bigger than the blazer
and very much part of something truly
transformative for women. HB
222
AFTER THE
WHISTLE BLOWS
CONTINUED FROM PAGE 220
improvement. “I understood the power of
design choices, and I understood how few
people in the industry work on those
systems,” she says. In 2019, she accepted an
offer to work as lead product manager on
Facebook’s civic misinformation team and
was up-front about her reasons for joining.
“I joined Facebook because if I could keep
one other person from feeling the pain that
I felt when I lost my friend, it would have
been worth it.”
But Haugen’s tenure at Facebook—now
known as Meta—didn’t go as she had hoped.
Haugen says she thought she was going to
work on misinformation around the 2020
U.S. election, but she was assigned to analyze
misinformation in territories all over the
world. In countries like Ethiopia, Myanmar,
and Sri Lanka, which were mired in civil
strife and ethnic violence, abuse of the plat-
form was rampant, and Facebook, she felt,
wasn’t dedicating the resources to combat
it effectively.
The tipping point for Haugen came in
the spring of 2021, after her team was
dispersed to other initiatives across the
company. She resigned and later leaked
thousands of internal documents to The Wall
Street Journal. The Journal’s reporting on the
materials revealed Facebook’s awareness of
some of the detrimental effects that activity
on its platforms, which include Instagram
and WhatsApp, appeared to be having on
users—from Instagram’s impact on the mental
health of teenage girls to how Facebook was
being used to spread hate and incite violence
against vulnerable populations.
In a statement posted on Facebook’s
corporate site, the company’s vice president
of global affairs, Nick Clegg, said that the
Journal’s analysis contained “deliberate
mischaracterizations” of Facebook’s work
and motives while acknowledging that
the report touched on “some of the most
difficult issues we grapple with as a company—
from content moderation and vaccine
misinformation to algorithmic distribution
and the well-being of teens.” Clegg added:
“These are serious and complex issues, and
it is absolutely legitimate for us to be held
to account for how we deal with them.”
Haugen likens what she saw among
colleagues at Facebook to a kind of “moral
injury,” a term coined by psychiatrist
Jonathan Shay to characterize the “undoing
of character” experienced by Vietnam War
veterans. “I would see people with a sense of
learned helplessness, like nothing could be
done,” she says. “When you can watch that
kind of phenomenon in the best place in
the company for you to try to advocate for
change…I didn’t really see a point.” Instead,
she contacted Whistleblower Aid, a nonprofit
that helps public- and private-sector employ-
ees disclose their concerns legally and safely.
“I feel like I didn’t get to make much of a
decision,” says Haugen, whose book about
her experiences in tech and at Facebook,
The Power of One, is set to be released in
June. “The thing that I chose was to have
a future, because having to live with that
regret was going to wipe out my future.”
While whistleblowers have been lauded
for their bravery, there remains a brutal
irony: As their former employers plow
ahead, those who speak out are often left
to pick up the pieces. “It constantly puts
people on the defensive, to clean up the
harms—rather than giving people from
different backgrounds the ability to innovate
and forge our imagination of the future,”
says scientist and AI ethicist Timnit Gebru.
“It actually hinders innovation.”
In 2018, Google hired Gebru to study
the social implications of artificial intelli-
gence and offer solutions to make Google’s
algorithms more fair and equitable.
Researchers like Gebru have long cautioned
about the ways AI can perpetuate or exac-
erbate existing bias. As companies and
governments increasingly rely on AI to
automate decision-making, these issues
have real-world ramifications that can result
in the surveillance and policing of commu-
nities of color and affect decisions over
housing, insurance, health care, and more.
Prior to joining Google, Gebru cowrote
a widely cited paper that identified bias in
the way facial-recognition software recog-
nized darker-skinned women. But in 2020,
after a disagreement over the publication
of a new paper she had coauthored, which
examined the environmental impact of
large-scale AI computing models and how
racist and sexist language culled from the
internet can become embedded in those
systems, Gebru says she was fired. In a
message to an internal employee group,
she was also critical of Google’s response
B A Z A A R
to efforts by her and her colleagues to
advocate for women, people of color, and
underrepresented communities in both
their work and their workplace. Within
days, more than 1,200 employees signed
a letter in protest of her departure, which
Google characterized as a resignation.
In a companywide email, Google CEO
Sundar Pichai later pledged to “assess the
circumstances that led up to Dr. Gebru’s
departure, examining where we could
have improved and led a more respectful
process.” Pichai wrote: “[W]e need to accept
responsibility for the fact that a prominent
Black, female leader with immense talent left
Google unhappily. This loss has had a ripple
effect through some of our least represented
communities, who saw themselves and some
of their experiences reflected in Dr. Gebru’s.”
But Google, which began reporting its own
diversity data in 2014, has continued to lag
in the hiring and retaining of women of
color. According to the company’s 2022
report, women who identify as Black and
Latinx accounted for just 2.3 percent and
2.4 percent, respectively, of the company’s
U.S. workforce.
The episode brought to light some
important things for Gebru. “It really clar-
ified to me that I just cannot exist in these
spaces,” she says. In 2021, Gebru founded the
Distributed Artificial Intelligence Research
Institute (DAIR), a diverse group of labor
organizers, activists, and researchers explor-
ing how the potential of AI can be harnessed
more responsibly. “There isn’t one single
path that is a predestined path in terms of
technology. Multiple different paths are
possible, and it’s always shaped by who
has power and who has money and who
is funneling resources,” Gebru says. “I just
stopped wasting my time trying to convince
these people to give us a seat at whatever
table they have,” she adds. “I want to create
my own table, on my own terms.” HB
PARIS
HILTON
CONTINUED FROM PAGE 152
and gay slurs ended up online. When I ask
her about it, the story comes back around
to her traumatic time in isolation. “Yeah,
I’m mortified,” she says. “But after talking
to other survivors, I see that so many of the
things that I did are classic signs of survival.
Everyone lives and learns in life.” In Paris,
she writes that in the attack-therapy sessions,
“people went for the most obvious target
in the ugliest possible language. The N-word.
The C-word. The F-word. (Not that F-word,
the worse one.) ... I don’t remember half the
stuff people say I said when I was being a
blacked-out idiot, but I’m not denying it.”
She further dispenses with a number of
her other cataloged mistakes—including a
new one, that she didn’t vote in the 2016
election: “Am I standing by these choices?
Would I make the same choices again,
knowing what I know now? Of course not!”
Hilton says the documentary “changed
my entire life” and enabled her to settle
down, get married, and start a family:
“I never would’ve let those walls down.” She
met Reum at a family friend’s Thanksgiving
gathering on Long Island in 2019. He was
different from her usual type. “He’s not
famous. He’s smart. He comes from a nice
family. He’s a good person,” she says. “It was
the opposite of what I had been used to
when I was looking for guys.”
Beginning in her 20s, Hilton had
started to think of herself, privately, as
asexual. She was romantically linked with
a different celebrity every week, but she says
her roundly awful sexual experiences—in
addition to a sex tape released against her
will in 2004, she writes in Paris about being
targeted and groomed by a male teacher in
middle school—made her something of a
prude. “I was known as a sex symbol, but
anything sexual terrified me,” she says.
“I called myself the ‘kissing bandit’ because
I only liked to make out. A lot of my rela-
tionships didn’t work out because of that.”
With Reum, she found a new kind of
trust. “It wasn’t until Carter that I finally am
not that way,” she says, adding with a laugh,
“I enjoy hooking up with my husband.”
They fell in love quickly, moved in
together during the pandemic, and were
married in November 2021. (Their rela-
tionship was featured in the Peacock series
Paris in Love, which will return for a second
season.) “I just feel like after all the hell
I’ve been through, I’m finally getting what
I deserve, which is someone I can trust and
someone to build a real life with,” Hilton says.
In motherhood, she claims she is begin-
ning to slow down—“I’m more interested in
babies than billions,” she says, dropping into
the voice yet again—but in the weeks after
we first speak, she DJs her mom’s annual
Christmas party, releases a new version of
“Stars Are Blind,” and performs onstage
with Miley Cyrus on NBC’s New Year’s Eve
special. She has big plans for the metaverse
too: In addition to perfecting an AI deepfake,
she has developed something called Paris
World on Roblox, where she hosts DJ events
and perfume launches.
In the interim, she is relishing being a
mother and taking in real-world moments
that feel new to her—or to the latest version
of herself. For a long time, people would
approach her for a selfie and want her to say
“That’s hot.” These days, she says, “it’s always
something about ‘I love what you’re doing
for children.’ Or ‘I went through the same
thing.’ ” She says hearing other survivors’
stories has proved to be “some of the most
gratifying moments in my life.”
“It’s a good feeling to be real,” she contin-
ues. “To not feel like some cartoon character
all the time. It’s a really good feeling.” HB

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0 3 / 2 3 223
 D I R E
COVERS On Paris Hilton version with cushions: Prada
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On Paris Hilton version: Prada dress, $4,800, knit, $1,320,
and shoes, price upon request; prada.com. Cartier
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On Kai Newman version: Gucci top, $2,400, and skirt,
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HILTON Page 145 Valentino jumpsuit, $25,000; similar
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Eterne T-shirt; eterne.com. Miu Miu underwear, $525;
miumiu.com. Falke socks, $25; falke.com. Balenciaga
pumps, $890; balenciaga.com. Page 157 Prada dress,
$4,300; prada.com. R13 boots, not available. Page 158
Dior dress, $6,100; 800-929-DIOR. Amina Muaddi boots,
$1,280; aminamuaddi.com. Page 159 Sportmax top, $645,
and skirt, $1,360; sportmax.com. Louis Vuitton boots,
price upon request; 866-VUITTON. Page 160 Burberry
dress, $4,190, and top, price upon request; us.burberry
.com. Page 161 Carolina Herrera minidress, $3,490;
carolinaherrera.com. R13 boots, not available. Page 162
Melitta Baumeister dress, $1,740; Dover Street Market
New York, 646-837-7750. Falke socks, $25; falke.com.
Stefan Cooke derby shoes, $433; stefancooke.co.uk.
Page 163 Alexander McQueen gown, price upon request;
224
C T
332-214-7080. Louis Vuitton boots, price upon request;
866-VUITTON. Page 164 Coach peacoat; similar styles
available at coach.com. Page 165 Proenza Schouler top,
$690, fringe bra, $1,290, and skirt, $1,290; 212-420-
7300. Falke socks, $25; falke.com. Stefan Cooke derby
shoes, $433; stefancooke.co.uk. GOING HOME Page
166 Bally bodysuit, $2,400; bally.com. Jennifer Fisher
hoops, $215; jenniferfisherjewelry.com. Tiffany & Co. Elsa
Perretti cuffs, $1,150–$1,500; tiffany.com. Sophie Buhai
rings (worn throughout), $650–$850; sophiebuhai.com.
Ariana Boussard-Reifel ring (worn throughout), $225;
arianaboussardreifel.com. Isabel Marant boots, $1,235;
isabelmarant.com. Page 167 Givenchy dress, $3,400;
givenchy.com. Tory Burch lace bra, $158; toryburch.com.
Khiry hoops, $325; khiry.com. Page 169 Hermès jacket,
$3,850, and skirt, $2,600; hermes.com. Khiry hoops,
$275; khiry.com. Toteme flip-flops, $350; se.toteme-
studio.com. Page 170 Bottega Veneta sweater, tank top,
and skirt, prices upon request; bottegaveneta.com. Khiry
hoops, $275; khiry.com. Page 171 Petar Petrov jacket,
$3,570, and shorts, $820; petarpetrov.com. Celine by
Hedi Slimane bikini top, $670; celine.com. Jennifer Fisher
hoops, $215; jenniferfisherjewelry.com. Isabel Marant
boots, $1,235; isabelmarant.com. Dolce & Gabbana
distressed denim, $1,745; 877-70-DGUSA. Page 172 Polo
Ralph Lauren sweater dress, $498; ralphlauren.com.
Jennifer Fisher hoops, $215; jenniferfisherjewelry.com.
Cartier Tank Louis Cartier watch, $9,550; cartier.com.
Page 173 Celine by Hedi Slimane bikini top, $670, and
trousers, $1,200; celine.com. Jennifer Fisher hoops, $215;
jenniferfisherjewelry.com. Tiffany & Co. Elsa Perretti
cuff, $1,150; tiffany.com. Page 174 Lanvin minidress,
$2,492; lanvin.com. Jennifer Fisher hoops, $215;
jenniferfisherjewelry.com. Isabel Marant boots, $1,235;
isabelmarant.com. Page 175 Alberta Ferretti jacket,
$2,375, and pants, $995; neimanmarcus.com. Jennifer
Fisher hoops, $215; jenniferfisherjewelry.com. Gucci bag,
$5,100; gucci.com. Celine by Hedi Slimane sandals,
$1,050; celine.com. Polo Ralph Lauren dress, price upon
request; ralphlauren.com. Page 176 Jil Sander by Lucie
and Luke Meier dress, price upon request; jilsander.com.
Khiry hoops, $275; khiry.com. Tiffany & Co. Elsa Perretti
cuff, $1,150; tiffany.com. Stuart Weitzman boots, price
upon request; similar styles available at stuartweitzman
.com. Page 177 Marni top and skirt, prices upon request;
marni.com. Khiry hoops, $325; khiry.com. Page 178 Issey
Miyake dress, $650; us-story.isseymiyake.com. Jennifer
Fisher hoops, $215; jenniferfisherjewelry.com. Stuart
Weitzman boots, price upon request; similar styles
available at stuartweitzman.com. Page 179 Valentino
gown, $23,000; 212-772-6969. Jennifer Fisher hoops,
$215; jenniferfisherjewelry.com. Tiffany & Co. Elsa
Peretti Sevillana cuff, $2,300; tiffany.com. Stuar t
Weitzman boots, price upon request; similar styles
available at stuartweitzman.com. Dolce & Gabbana
d i s t r e s s e d d e n i m , $ 1 , 74 5 ; 87 7 - 70 - D G U S A . THE
ELEMENTS OF STYLE Page 180 Balenciaga glove tote,
$4,290; balenciaga.com. Page 181 Rick Owens boots,
$7,030; rickowens.eu. Page 182 Fendi Petite handbag,
$4,900; fendi.com. Page 183 Alexander McQueen Peak
bag, $4,500, and boots, $11,900; 332-214-7080. Page
184 Chloé hobo bag, $2,290; modaoperandi.com.
Page 185 Bottega Veneta Squid shoulder bag, price upon
request; bottegaveneta.com. Page 186 Louis Vuitton LV
Café clutch, price upon request; 866-VUITTON. Page 187
Gucci two-piece gladiator sandal, $7,900; gucci.com.
Page 188 Alaïa Cabaret sandals, $1,750; maison-alaia
.com. Page 189 Chanel evening bag, price upon request;
800-550-0005. NEUTRAL TERRITORY Page 190 Fendi
dress, $2,950; fendi.com. Hizume draped hat, $5,400;
hizume.com. Benefeet Sox socks, $14.99; amazon.com.
Loewe transparent ballerinas, $390; loewe.com. Page 191
Giorgio Armani cape, $6,650, one-shoulder top, $1,495,
and clutch, $4,995; armani.com. Uma Wang hat, not
available. Dolce & Gabbana gloves, $395; 877-70-DGUSA.
Page 192 Dolce & Gabbana dress, $3,695, gloves, $395,
and briefs, $265; 877-70-DGUSA. Page 193 Loewe
top, not available. Hed Mayner cargo pants and headscarf,
not available. Max Mara hat-cap, price upon request;
m ax m a r a . c o m . D o l c e & G a b b a n a g l ove s , $ 3 9 5 ;
877-70-DGUSA. Loewe transparent ballerinas, $390;
loewe.com. Page 194 Hed Mayner parka and apron
O R Y
top, prices upon request; ssense.com. Hed Mayner
shor t lace judo pants and judo pants, prices upon
request; bergdorfgoodman.com. Benefeet Sox socks,
$9.99; amazon.com. Loewe slippers, $850; loewe.com.
Page 195 Dior bra and shorts, prices upon request, skirt,
$10,500, and necklace, $3,300; 800-929-DIOR. Uma
Wang hat, not available. Dolce & Gabbana gloves, $395;
877-70-DGUSA. Van Cleef & Arpels Olympia bracelet,
$201,000; 877-VAN-CLEEF. Page 196 Max Mara dress,
$1,390; maxmara.com. Xuly.Bët stocking top, $110;
xulybet.com. Detaj necklace, price upon request;
detaj.com. Uma Wang shoe, $780; umawang.com. Page
197 Lauren Manoogian dress, $890, pants, $590, vest,
$750, and cardigan, $1,300; laurenmanoogian.com.
Uma Wang shoes, $780; umawang.com. Page 198 JW
Anderson dress, not available. Uma Wang tank top, $230;
umawang.com. MM6 Maison Margiela knit belt corset
(worn as headpiece), $270; maisonmargiela.com. Loewe
transparent ballerinas, $390; loewe.com. Page 199
Jil Sander by Lucie and Luke Meier dress, price upon
request; jilsander.com. Xuly.Bët stocking top, $110;
xulybet.com. Detaj necklace, price upon request; detaj
.com. SUPER EVERYTHING Page 201 Jacquemus coat,
price upon request; jacquemus.com. Loewe pumps,
$1,850; loewe.com. Page 205 Chanel blouse, $2,550,
pants, $2,750, necklace, $3,375, and belt, $1,900;
800-550-0005. LIGHT IT UP Page 206 Moschino bikini,
$480; nordstrom.com. Moschino hat, price upon request;
212-226-8300. Moschino earrings, $395; lauragambucci
.com. Falke Family tights (worn throughout), $45;
falke.com. Page 207 Dior bra, price upon request, shorts,
$2,700, and skirt, $12,000; 800-929-DIOR. Balenciaga
sunglasses, $490, and sandals, $1,150; balenciaga.com.
Page 208 Saint Laurent by Anthony Vaccarello hooded top,
$3,590, trousers, $2,290, and belt, $795; 212-980-2970.
Balenciaga sunglasses, $490; balenciaga.com. Michael
Kors Collection cuffs, $350 each; michaelkors.com.
Balenciaga sandals, $1,150; balenciaga.com. Page 209
Balenciaga gown, $36,725, sunglasses, $490, and
sandals, $1,150; balenciaga.com. Page 210 Giorgio Armani
cape, $6,650, and bodysuit, $1,095; armani.com. Roberto
Cavalli tights, price upon request; robertocavalli.com.
Balenciaga sandals, $1,150; balenciaga.com. Page 211
Ferragamo bralette, $1,190, and jeans, $9,000; ferragamo
.com. AZ Factory x Lutz Huelle ruffle gloves, price upon
request; azfactory.com. Balenciaga sandals, $1,150;
balenciaga.com. Page 212 Tom Ford dress, $21,400;
tomford.com. Wolford bodysuit, $245; wolfordshop.com.
Balenciaga sunglasses, $490, and sandals, $1,150;
balenciaga.com. Page 213 Etro bra top and skirt, prices
upon request; etro.com. Wolford bodysuit, $245;
wolfordshop.com. Piers Atkinson veil, $671; piersatkinson
.com. Roberto Cavalli crystal tights, price upon request;
rober tocavalli.com. Balenciaga sandals, $1,150;
balenciaga.com. Page 214 Proenza Schouler top, $1,990;
212-420-7300. Gianvito Rossi platform heels, $2,195;
gianvitorossi.com. Page 215 16 Arlington blazer, $1,080;
16arlington.co.uk. Costume Studio headpiece;
thecostumestudionyc.com. Van Cleef & Arpels Eva
necklace from the Legend of Diamonds collection, price
upon request; 877-VAN-CLEEF. Balenciaga sandals,
$1,150; balenciaga.com. AFTER THE WHISTLE BLOWS
Page 217 Brunello Cucinelli gilet, $2,495, shirt, $995,
and pants, $2,295; 212-334-1010. Nouvel Heritage
bangle, $4,400; nouvelheritage.com. Dinh Van rings,
$3,250–$4,840; dinhvan.com. Page 218 Akris turtleneck,
$995; saks.com. Marina Rinaldi trousers, $215;
us.marinarinaldi.com. Tiffany & Co. Elsa Peretti necklace,
$5,200, and bracelet, $2,525; tiffany.com. Page 219
Loro Piana turtleneck, $2,800; loropiana.com. Studio 189
skirt, $695; studiooneeightynine.com. Khiry hoops, $495,
and pendant, $350; khiry.com. Page 221 Nili Lotan
sweater, $695; nililotan.com. Peter Do pants, $2,750;
peterdo.net. Dinh Van necklace, $6,050, and bracelet,
$4,390; dinhvan.com.
BEAUTY Babor, us.babor.com. Caudalíe, us.caudalie
.com. Chanel, chanel.com. Dior, dior.com. Jones Road,
jonesroadbeauty.com. Krigler, krigler.com. Lawless,
lawlessbeauty.com. M.A.C, maccosmetics.com. Pat
McGrath Labs, patmcgrath.com. Rose Inc, roseinc.com.
Sisley, sisley-paris.com. YSL Beauty, yslbeautyus.com.
B A Z A A R
SERVED BY
 T R I B
VIVIENNE WESTWOOD’S REVOLUTIONARY SPIRIT
THE ANTIAUTHORITARIANISM OF PUNK came naturally to
Vivienne Westwood. The designer and activist, who passed away on
December 29 at the age of 81, was one of the chief architects of the
mid-1970s British movement that spawned anarchic musical acts
like the Sex Pistols, transforming shredded T-shirts and bondage
gear into the uniform of a youth-cultural insurgence. Alongside
her then boyfriend, Malcolm McLaren, she honed her radical
vision in a tiny shop on London’s King’s Road that was known at
various points as Let It Rock; Too Fast to Live, Too Young to Die;
Sex; Seditionaries; and Worlds End. It was an aesthetic that would
change fashion. Westwood, who grew up in the small working-class
village of Tintwistle in England, knew that the social fabric of her
Vivienne Westwood, photographed by Martin Parr for Harper’s Bazaar’s March 2013 issue
226
U T E
country was based on exclusion. To her, fashion was a way to find
freedom in a place that had little room for her in it. Her collections,
designed since the 1990s with her husband Andreas Kronthaler,
could be romantic, architectural, bombastic, elegant, contrarian,
and confrontational—always laced with the idealism of a woman
who reveled in sending shock waves through the establishment. In
more recent years, she worked to raise awareness about the climate
crisis with the same mix of urgency, passion, and provocation. “No
future” was punk’s mantra, but for Westwood the future was the
only thing that could be changed. “I always design for a parallel
universe; a world that doesn’t exist,” she said in a 2012 interview.
“You know, one that’s like this but better.” HB
B A Z A A R
CANDICE SWANEPOEL
FOR ANNE KLEIN
ANNEKLEIN.COM